The very versatile Rajeev Khandelwal and Mrinalini Sharma talk about their much awaited film Soundtrack. The duo also spoke about their respective roles and experiences with Komal Nahta on the show ETC Bollywood Business on channel ETC.
Rajeev Khandelwal has proved himself with Aamir (2008) and Shaitan
respectively, but in his next film, Soundtrack, we will see him in a new
avatar, going through a series of ups and downs. The official remake of
award winning cult film It's All Gone Pete Tong (2004), will release
this week.
The Delhi girl, who has charmed the film buffs with her acting acumen in Awarapan and Hide and Seek, would be seen matching wits with Rajeev Khandelwal in their forthcoming film Soundtrack.
Sharing the reason to Sountrack, Rajeev said, "When Neerav Ghosh
(Director) asked me to do this movie and I was like, 'Do u really want
me to do this movie.. 😆😆 There's music, drugs, alcohol, intimacy to its
extreme. I have such a modest guy image😳😳 '.Neerav replied, that's the
reason why I want you to do this movie.'😆😆😆
Talking about his Bollywood career so far, Rajeev said, "None of the movie I have done so far is Rajeev Khandewal's movie.😛😛 Mujhme itni kabiliyat nahi ki main bahut sari movies ek sath kar saku.😆😆😆" However he believes, the movie soundtrack breaks all rules.
Soundtrack movie script demanded intense intimate scenes between Rajeev and Mrinalini Sharma. Talking about dealing with such scenes Mrinalini said, "We would discuss the scenes at length. We would discuss all the technical aspects of the scenes before execution." Adding, "I'm playing the role of an attention-grabbing girl in Soundtrack, but in real life, I'm not at all like that. I'm very happy in my personal space!"
To catch the whole conversation, tune into ETC on 7th Oct, Friday at 8:30 PM.😳
Movie Name: | Soundtrack |
Critic Rating: | |
Viewer Rating: | 6
0 |
Star Cast: | Rajeev Khandelwal, Soha Ali Khan, Mohan Kapoor, Yatin Karyekar and Mrinalini Sharma |
Director: | Neerav Ghosh |
Producer: | Sanjiv Goenka and Apurv Nagpal |
Music Directer: | Midival Punditz, Karsh Kale, Kailash Kher,Vishal Vaid, Laxmikant Kudalkar, Pyarelal, Ankur Tewari and Papon |
Genre: | Musical /Drama |
|
Soundtrack Movie Review | |
October 6, 2011 06:18:22 PM IST By Martin D'Souza, Glamsham Editorial |
There's
something irresistible about a heroic triumph, something about an
individual overcoming all odds, that appeals to something in every one
of us. That appeal is only multiplied, when stories of such triumph
leave the pages of fiction, and come into the world of reality, touched
by a sense of realism. Perhaps that is why director Neerav Ghosh's
debut effort, 'Soundtrack', makes for such a deeply satisfying watch.
However,
let one state at the outset, that while this documentary-like feature
film claims to be based on a true story, that, in fact, isn't quite
true. The film is actually an official remake of the 2004 Canadian
indie classic, 'It's All Gone Pete Tong', a similar
mockumentary of sorts that spoke of the rise, fall and rise of a
fictional Ibiza DJ, Frankie Wilde, with names like DJ Tiesto, Paul Van
Dyk and Lol Hammond appearing as talking heads relating Frankie's story
through the film. While the original film has turned into something of
a cult touchstone, 'Soundtrack', with a first-timer in
Neerav at its helm, still has some way to go before it achieves that
sort of success. Where the film does see success, however, is in the
way Ghosh manages to Indianise as urbane a story as this subject, and
makes it quite relatable.
The film's plot is almost Beethoven-esque in its scope, and indeed, more than 'It's All Gone Pete Tong', it is the master composer's legendary life that 'Soundtrack'
will invite direct comparisons with. Smartly, then, Neerav makes Ludwig
himself a narrator in the film, peppering the narrative with framed
quotes from the composer's life.
The plot revolves around a
music-maker called Ronak, played superbly by Rajeev Khandelwal,
arriving in the city to hit the big-time. Ronak carries within him, the
legacy, or rather, the burden of his late father, Parth, who himself
tried to make a mark in the music industry, but simply couldn't find
success. Ronak, though, tastes victory immediately, as he quickly turns
into the superstar DJ at the Tango Charlie club, with the club's owner,
Charlie, played by Mohan Kapur, acting as his manager. It is evident
that Ronak has a great ear for music, though this is accompanied by a
vicious addiction to sex, drugs and alcohol, all of which he finds
quite easily in the wonderland of his fame. However, the film's pivotal
turn comes when he finds that even as the noose of his addictions is
tightening around his neck, his ear is quite literally leaving him,
rendering him deaf. The rest of the film deals with Ronak's own
tribulations with his condition and how he eventually rises to meet the
challenge of life, with some help along the way.
The film,
though slow at some points, hooks from the start. The film scores with
its interesting narrative, where Ronak's story is told in flashbacks,
interspersed with interviews with characters from the film, like
Ronak's uncle, his manager Charlie, his band mates Biscuit and Banjo,
and his girlfriend, model Shonali, along with real life characters like
Kailash Kher and DJ Aqeel, speak of their meetings with Ronak and their
impression of him. The tone that they speak of him in, which casts him
in an almost genius-like silhouette, makes his character that much more
intriguing and appealing. The use of the mysterious Johnny Joker
character is also quite interesting, taking the narrative forward in
quite unexpected ways, though one must say that the credit here goes to
the makers of the original film.
Rajeev Khandelwal, though just two films old as 'Soundtrack'
rolls in, has quickly become one of the most interesting actors to
watch on the Indian cinema screen. The actor has successfully made the
transition from the small screen to the big, and his performance here
as Ronak proves that this isn't without reason. Khandelwal is amazingly
sincere on centre-stage here, and comes up with a truly captivating
performance. The scenes where he is still struggling to deal with his
condition are heartbreaking, while you can't help but cheer him on as
he finally finds him triumph in the climax.
Soha Ali Khan is
also a revelation as Gauri, entering the narrative almost halfway
through the second half, but leaving quite a mark. The actress charms
in her 'special' role, and shows that given the right scope, she too
has the histrionic skills to deliver. Mrinalini Sharma, unfortunately,
doesn't get this scope, though, as Ronak's supermodel girlfriend
Shonali, she does show potential. Yatin Karyekar, as Ronak's uncle,
delivers a great performance, as do the non-actors on the cast,
musicians Sidd Coutto and Ankur Tewari, who play Biscuit and Banjo,
respectively. Mohan Kapur is perhaps the other main character, apart
from Ronak, here, and with a performance that is over the top at points
and beautifully understated at others, shows what Bollywood has been
ignoring all these years. His Charlie is hilarious, yet endearing,
throughout the film.
Given that the film revolves around music and a musician, it was imperative that 'Soundtrack'
have a flawless soundtrack itself, and on that front, the film's music
directors, the superb Midival Punditz and Karsh Kale, deliver
handsomely. Tracks like 'what the f', 'atomizer' and 'fakira' rock the dancefloor, while 'banao', by Papon, and 'jannat', by the film's Banjo, Ankur Tewari, truly charm. However, the climactic number, 'ek manzil', with its haunting cello hook, is where it all truly comes together in a piece of addictive brilliance.
There are points in 'Soundtrack' where the scene-to-scene influence of 'It's All Gone Pete Tong'
is unshakeable. And, given the fact that it's an official remake of the
film, the question arises as to how much of the credit for 'Soundtrack'
goes to Neerav Ghosh. Holistically speaking, the plot is undoubtedly
the most crucial aspect of any film, as it is here. However, when that
plot is backed up bravura performances like those from Rajeev
Khandelwal and Soha, as well as an OST that is as brilliant, the credit
then legitimately lies with the director for having the vision to come
up with a work as complete as 'Soundtrack'. While the
argument can be made for watching the original instead of 'Soundtrack',
one has no doubt that if you miss watching this debut effort from
Neerav Ghosh, you will be missing out on something promising indeed…
Apart from the posters that look pretty exciting, the story promises to match up to our expectations. Starring Rajeev Khandelwal, Soha Ali Khan and Mrinalini Sharma, the film revolves around a DJ with a handicap. And as he reaches the top, he meets several of his inner demons on the way.
Going by the gist, it sounds like a version of Ranbir's upcoming Rockstar. But what makes a world of difference is Rajeev Khandelwal. We're pinning our hopes on the star who wowed everybody with his Bollywood debut in Aamir.
We're not sure what the critics' response is going to be, but it definitely seems like one of the better movies releasing today.
This is the story of "Bandra's Beethoven". That label, used by a glib manager (played by Mohan Kapoor) to hard-sell the hero of Neerav Ghosh's Soundtrack, is bereft of irony or humour. It is meant to be sycophantic, glowing, earnest, 'soul-soup' inspirational—largely what the entire movie also is.
Raunak Kaul (Rajeev Khandelwal) is a master turntablist who spins at a nightclub in what is implied as Bandra, the hip Mumbai suburb. One day he goes deaf. Does he plunge deeper into his cocaine-and-whiskey path towards perdition and hell? Or does he crawl back up to life and music? There's that tantalizing promise—the promise of a man's redemption after he has hit the abyss with drugs, bad decisions, being in love with the wrong person, and a sudden physical disability.Director Neerav Ghosh mentions in the credits that the film is inspired by the motion picture It's All Gone Pete Tong. But in fact, it is more than just an inspiration. Soundtrack has scenes which are exact replicas of the 2004 British production, written and directed by Michael Dowse. The true story of the original, that of a DJ at an Ibiza nightclub—somewhat of a legend in the Ibiza club scene then—and the sudden end of his raucous lifestyle, is not stuff of great tragedy. In Dowse's movie, Wilde has no nuances, and is unintentionally comic in the way his life spirals down. British actor Paul Kaye? adds to the part—a skinny man with a stupid laugh, corroded by drugs, who finally cleans up. There is a comic intensity to Frankie's tragedy which makes the character bearable, although the film in its itself is quite charmless.
The writing of the Hindi remake adapts quite awkwardly to the Mumbai context. This is not really a decadent 'Charlie' and 'charas' land. The director and cinematographer (Anshuman Mahaley) depends on neon hues, jagged camera angles and the music to create the drug-induced madness. The actor does not have to do a lot. The only nuance in Raunak, really, is his hallucinatory relationship with an unthreatening clown who goads him on to inebriation (in the original, it was a grizzly bear-like beast with dried cocaine stuck to its nose). There is also his past—a childhood without a father and the only child of a helpless mother, a trite Bollywood tool in this context.
The attempt to localize is of course intentional, and it is ultimately not the film's undoing. The attempt to make Raunak's story sentimental and inspirational, and to strip the character's of all his foolishness and dumbness—even when he is wasted silly, Khandelwal lends Raunak a sense of importance and seriousness—is. It is a put-off, for this DJ is no tragic hero.Raunak, a man of firm build and groomed hair, is the anti-thesis of a man swallowed by self-destructive madness. His physicality belies the rot inside. Khandelwal has performed with gusto and he makes some scenes extremely potent, but overall, he is sorely mismatched to this character. Soha Ali Khan? plays a deaf girl who rescues Raunak from oblivion. She too, like Khandelwal, is inconsistent. In some scenes the character is strikingly original, and in some completely banal. Mohan Kapoor as the greedy, soulless manager, is the most convincing character here.
Soundtrack is a downer, but for a few powerful scenes—all of which are exact replicas from the movie it's inspired from.
I will confess I am at a disadvantage here because I have watched It's All Gone Pete Tong twice, quite by accident. And comparisons with the mediocre original is unavoidable. When it's a remake or an "inspiration", the task of making it better or to adapt it truthfully to its context is up for scrutiny. And I judge the film largely on those terms.
The star of Soundtrack is its music. Lyricists (Kailash Kher?, Majrooh Sultanpuri, Karsh Kale, Vishal Vaid, among others), music directors (Midival Punditz, Karsh Kale, Papon, Kailash Kher, Laxmilant Kudalkar) lift the trajectory of this self-aggrandizing hero by a few notches. The film is visually accomplished, if albeit too plastic at times, but the music and the cinematography momentarily achieves what neither the lead actors nor the writing can achieve.
Soundtrack released in theatres on Friday
http://www.livemint.com/2011/10/06191620/Film-Review--The-din-of-silen.html?h=B
P.S: My Take On This Review: the review is avg, because the writer is in 'It's All Gone Pete Tong' mode...😆😆😆