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A.R.Rahman (Fan Club) (Page 123)

dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 09 June 2006 at 11:25am | IP Logged

Music Review

Swades - Earthy freshness in 'Swades' music
 Subhash K. Jha, IANS  [Friday, October 01, 2004]

Those expecting another "Lagaan" from director Ashutosh Gowariker, lyricist Javed Akhtar and composer A.R. Rahman are in for a different experience - the "Swades" music is unlike any sound we've heard in recent times.

If there are any echoes of northern Indian folk heritage in the album, it is just Rahman's distinctive sound creation doing its usual, tightly structured tinkering across a web of finely threaded tunes that serve as a mirror image of life's most basic and valuable lessons.

"Boond boond milne se banta hai ek dariya," sings Udit Narayan with a nave idealism that's fast become alien to our popular culture.

More than anything else, "Swades" is a venturesome album. It dares to tread where others would not just hesitate to go, but reject outright.

There's a long, lingering Ram Leela song, "Pal pal hai bhari", where three new singers - Madhushree, Vijay Prakash and director Gowariker himself - add a ripple of raw realism to the unrehearsed rhythms of this traditional track.

Udit Narayan who sang like a charm in "Lagaan" returns in the inspirational "Yeh tara woh tara" - with two extremely precocious juvenile voices - and "Ahista ahista" with Sadhana Sargam. Udit's vocals here again show how superbly honed his singing has grown over the years.

Alka Yagnik appears in two tracks. Her duet "Dekho na" with Udit Narayan is frail and wispy, like a butterfly fluttering its wings against a glistening windowpane.

The raga-based "Sanwariya" has Alka climbing to a compact crescendo.

But except for the choral "Yun hi chala chal" where Udit, Hariharan and Kailash Kher have a great deal of fun joining in to sing a song about moving forward, Rahman's tunes don't really give any of the singers a chance to get seriously resonant over the soundtrack.

The music of "Swades" seems to acquire its melodic motivation from a mood of intimate idealisation of man's quest for cosmic purity celebrated in Javed Akhtar's lucid lyrics.

The tunes are earthy, transparent and anti-formulistic. They reflect a nobility of heart that makes its way out of the singers' throats to sing to the galaxy of stars glimmering in the sky. ml

Edited by dayita - 10 June 2006 at 5:35am

dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 09 June 2006 at 11:33am | IP Logged

Music Review

Bose The Forgotten Hero - Music filled with feelings in
<>document.write('Subhash K. Jha, ') Subhash K. Jha, IANS  [Friday, April 15, 2005]

It's yesterday once more - with the music of "Bose The Forgotten Hero".

This isn't the first time that A.R. Rahman has gone into a historical biopic. He had earlier composed some truly gritty songs for Raj Kumar Santoshi's "The Legend Of Bhagat Singh".

Now he teams up Javed Akhtar (after "Lagaan", "Zubeida" and "Legend...") to create a symphony of nostalgic sounds that celebrate the life of the uncelebrated hero, Netaji Subhas Chandra Bose.

The most remarkable achievement in "Bose...", is that the sounds, though steeped in the ethos of a specific historical chapter, are no slave to any era.

And if in "Legend...", Rahman got Sonu Nigam to warble "Rang de basanti chola" and "Sarfaroshi ki tamanna" wondrously, in "Bose...", the singer's talent is harnessed in "Desh ki mitti".

You can almost hear the ache and pain of the homesick statesman in every word of the song.

Another gem is "Ghoomparani". Sapna Mukherjee, who never found her melodic metier before, comes into her own in this sweet and tender lullaby tinged with a Bangla flavour - a reminiscent of Rahman's "Door kahin ek aam ki bagiya" in "Zubeida".

Rahman himself renders "Aazadi" with the rising gusto that we heard him adopt for the title song in "Swades".

Side two of the album is interestingly composed of variety of sweltering sounds - ranging from an Afghani theme to a Bangla boatman's song to convey the epic spectrum of Netaji Subhas Chandra's Bose's life.

The soundtrack of "Bose..." isn't as exceptional as the ones Rahman has done earlier in the genre. But it's filled with feelings that are often inexpressible without the support of music.

You may not find the sounds of this album modern enough to warrant a sole-tapping response. But the music aim at more - they go for the heart and soul. ml
dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 09 June 2006 at 11:41am | IP Logged

Music Review

Mangal Pandey - The Rising - Rehman's tryst with History
<>document.write('Aelina, ') Aelina, IndiaGlitz  [Sunday, July 17, 2005]

To create a period movie is always a challenge. Especially so when it belongs to an era that formed an important chapter in the history of fight for India's freedom from the British. But creating music for such an era is an even bigger challenge because though reference points for coming up with a dramatic adaptation are still relatively easy to find, to obtain a sense of music is an ardent task. A.R.Rehman, now hot favorite to deliver music for an historical - post Lagaan, The Legend Of Bhagat Singh and Bose - The Forgotten Hero - does it once again with 'Mangal Pandey - The Rising', that traces back the beginning of Indian revolt in the 19th century that resulted in a continuous freedom struggle for around 100 years. The pain, hard work and extensive labor that went in for producers Bobby Bedi and Deepa Sahi are finally ready to pay dividends for this Ketan Mehta film that stars Aamir Khan, Toby Stephens, Rani Mukherjee, Amisha Patel and Kirron Kher [in a guest appearance]. Javed Akhtar traces back the style of the 19th century and writes lyrics.

Expectations are obviously sky high from this epic and one expects extraordinary music that would enliven the proceedings during the movie's narrative.

1) Title song - Mangal Mangal [Three versions - Original, Agni, Aatma, Singers - Kailash Kher, Sukhwinder Singh(Aatma)]

To depict various moods in the movie comes the theme song 'Mangal Mangal' in three versions. The album begins with the 'high on drums' original version that gives the kick start to the album. A track about the 'awakening' of all folks, houses, villages, towns and cities, hence depicting the arrival of good times ahead, it is a passionate rendition by Kailash Kher in his earthy vocals that brings alive the times of the 19th century. Huge orchestra gives a grand appeal to this number that should appear in smaller parts throughout the movie as a part of the background score. For the same reason, there are two more versions 'Agni' and 'Aatma', that depict different moods of the revolution in the movie with 'Agni', as the title depicts, fiery and 'Aatma' being more somber.

2) Main Vari Vari [Kavita Krishnamurty, Reena Bhardwaj]

Kavita Krishnamurthy comeback with this track proves that real talent cannot be relegated in the background for long. The lady who has been making too far and few appearances for last 3-4 years comes up with an enjoyable mujra 'Main Vari Vari', which inspite of being set 150 years back doesn't get wee bit classical and instead sounds contemporary. Yes, there is that special period effect to it but that's mainly due to the setting, lyrics and overall essence rather than anything else. One looks forward to the picturisation of this mujra that sounds quite promising and should turn out to be another ace for Rani Mukherjee, who should be able to justify her role of a prostitute and a notch girl.

3) Holi Re [Aamir Khan, Udit Narayan, Madhushree, Srinivas and Chinmaye]

No, don't expect Aamir Khan to be coming up with yet another 'Aati Kya Khandala' act where he got a chance to go solo. In this case, he plays a little part where he primarily walks away with his lines while Udit Narayan sings the majority of the number. Madhushree, Srinivas and Chinmaye get into a rollicking mood along with Udit Narayan for this 'holi' song, where the prime attraction is Javed Akhtar's lyrics that go wonderfully well with the old times. Rehman's music for this track though would take some time to catch up as it is not one of those easy to hum tracks that get on you instantaneously. Aggressive promotion and colorful picturisation befitting such a number may just do the trick.

4) Rasiya [Richa Sharma and Bonnie Chakraborty]

The track that could be given an easy skip, 'Rasiya' fails to impress at all due to a lackluster composition. The track hardly justifies its presence in the album and seems to have been composed just for the situation as audio wise; it just doesn't fit in the mood. Richa Sharma and Bonnie Chakraborty take turns to sound rustic and husky respectively and though they do the job well, the overall number hardly makes a mark. For a movie like 'Mangal Pandey', one expected much better from the only item number [though one still wonders if it was needed at all].

5) Takey Takey [Sukhwinder Singh, Kailash Kher, Kartick Das Baul]

A situational track set in vintage India where everything was available at throwaway prices [a 'taka' each], 'Takey Takey' is pretty enjoyable. A number that appears sarcastic and philosophical in turns, it looks at the times when for a 'taka' each you could buy everything - be it materialistic or non-materialistic. While Sukhwinder Singh, Kailash Kher and Kartick Das Baul come together for singing this foot tapping and highly enjoyable track, it is the combined vocals of children for the key lyrics 'Takey Takey' throughout the number that enlivens the proceedings. The first of its kinds, it may even get the house down if picturised as a fun number.

6) Al Maddath Maula [A.R.Rehman, Kailash Kher, Murtaza and Kadir]

Kailash Kher gets to sing one more track, this time with A.R.Rehman in the lead for the devotional 'Al Maddath Maula'. After 'Piya Haaji Ali' [Fiza], Rehman comes up with yet another devotional track based on Muslim religion. The number sounds well, especially the lyrics that work well in the situation in the movie. It may not be hugely popular amongst one and all due to its theme, but it would be liked by those who appreciate such genre and understand the nuances behind the lyrics.

Overall, the album of 'Mangal Pandey-The Rising' is good as long as one doesn't expect yet another 'Lagaan' from the same composer. The theme of the movie warrants depiction of a particular period from Indian history and the composer-lyricst duo are successful in doing that. But yes, one can't deny the fact that after listening to the album, one still wonders if the album could have turned out to be a little more better.

Nevertheless, the effort that went into creating the music of this mega movie shows. Commercially speaking, the album should ensure a decent opening, if not earth shattering. The quick promotion of 'Main Vaari Vaari' should only add on to the sales figures.

Rating: *** ml
dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 09 June 2006 at 11:54am | IP Logged

Music Review

Ayutha Ezhuthu - Ayudha Ezhuthu
Indiaglitz  [Sunday, April 04, 2004]

The music of A.R. Rahman grows on you. For the last more than 10 years, he has created music that you might not like much on the first hearing. But listen to it a second and a third time, and the nuances of the music leave you enthralled.

So it has been with "Roja", "Bombay", "Alai Paayuthe" and even "Boys". The trend continues with "Ayutha Ezhuthu", a Mani Ratnam film.

Rahman's music combines melody with a strong rhythm that electrifies one, inducing a primal urge to move with the beat. This and the arrangement distinguish his music as much as the choice of unusual musical sounds like the clatter of a typewriter keyboard or the hammering of a large building under construction.

It is nuances like these that make Rahman's music not just a casual listener's dream but a fest for a serious listener as well.

The first track in "Ayutha Ezhuthu", "Hey Goodbye Nanba", featuring Shanker Mahadevan, Lucky Ali, Karthik and Sunitha Sarathy, is a worthy introduction to the whole album, but "Jana Gana Mana" by Rahman and Karthik is a bit of a letdown, though it has compelling rhythm and could get some young feet tapping away.

Madhushree sounds sweet in "Sandai Kozhi". This track is probably the best in "Ayutha Ezhuthu". It calls to mind folk melodies, evocative of film music of an earlier era.

However, one also gets the feeling that Rahman has plagiarised from his own earlier music in bits, notably from "Lagaan".

"Dol dol", track number four, billed as rap with lyrics by Blaaze and ethnic vocals by Shaheen Badar, is just that: rap. But the rap seems to have very little to say.

"Nenjam Illam" by Adnan Sami and Sujatha make for good listening but the second best in the album is the last one, "Yakkai Thiri" by Rahman, Sunitha Sarathy and Shalini Singh.

Rahman's music has sold not on the strength of vocalists or lyricists, but on the strength of its sound. This album continues on this tradition, and what sustains it is the Rahman sound.

But this offering is not a patch on the unforgettable tunes he had earlier created for Ratnam, be it "Roja" or "Dil Se" or for that matter, "Lagaan" or "Kandukondein Kandukondein". ml
dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 10 June 2006 at 5:26am | IP Logged
A distinct Heist film

Piroj Wadia
Posted online: Friday, June 09, 2006 at 0000 hours IST

Cast and Credits
Daniel Rosenberg, Brian Grazer
  Spike Lee
  Denzel Washington, Clive Owen, Jodie Foster, Willem Dafoe, Chiwetel Ejiofor
A heist film and Spike Lee? A strange meeting indeed. For the genre's getting jaded and Spike Lee is the master of cult films like 'Malcolm X', others. The icing on the cake is a star cast headed by Denzel Washington and Jodie Foster. But undisputed remains Spike Lee's revolutionary touch with the genre. As the titles roll A R Rahman's Chaiyya Chaiyya... plays in the background, in fact an unwitting viewer of the pirated CD thought that it was a piracy glitch. But the remix version play again with the end credits. The hold up gang dresses up as painters take over the lobby of a Wall Street branch of a global financial institution. Within seconds 50 patrons and staff become unwitting pawns. NYPD hostage negotiators Detectives Keith Frazier (Denzel Washington) and Bill Mitchell (Chiwetel Ejiofor) arrive ASAP on the scene. They are to establish contact with the heist's ringleader, Dalton Russell (Clive Owen) , and ensure safe release of the hostages. The gang is invariably one step ahead of the police, outwitting Frazier and Mitchell at every turn. Frazier is suspicious of Madeline White (Jodie Foster), a power player, who represents the clandestine interests of the bank's chairman Arthur Case (Christopher Plummer), who is curiously interested in the moment-to-moment happenings inside the branch. What are the robbers after? Frazier is convinced of an invisible agenda.

Spike Lee divulges the ending before the final reel, as he intercuts the events with the interrogations with the hostages after they are set free. Yet the film retains its edge-of-the-seat excitement as Lee takes each baffling turn after the other and holds the audience interest. Not in recent times has a heist movies been so appealing — call it Spike Lee's deft touch with racial references or call it a well crafted script. Yes, the onus must also be shared with standout performances by Denzel Washington, Jodie Foster and Clive Owen, well matched by Chiwetel Ejiofor. Though he's been there and done that before, Washington goes at playing the detective with disarming ease - probing and harsh one minute and lightens up the next. Jodie Foster and Washington display an outstanding chemistry when they are pitted against each other. To sum up 'Inside Man' will find a place as a distinct heist film.

dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 10 June 2006 at 5:30am | IP Logged
News >>
Southern stars to spice up car promos

D Govardan

Car marketers < = src="/jss/news/square_banner_in_story.js"> appear to have sensed the need to cultivate local sensitivities in order to aggressively grow in specified markets. To that end, India's top two passenger car makers, Maruti and Hyundai, now seem to be willing to experiment to gain more customer attention.

While Hyundai briefly toyed with the idea and even initiated discussions with two leading Tamil film heroes, Maruti has now taken a small step by promoting its Swift through an in-film initiative in a Tamil film starred by Surya.

The trend started with Pepsi and Coke, who roped in popular regional film stars to make in-roads into Tamil Nadu and AP.

As if taking a cue from these, Maruti has agreed to a proposal to engage actor Surya as the company's test driver in his latest Tamil film 'Jillunu Oru Kaadhal', which has music by AR Rahman and is being directed by debutant Krishna. In fact, for the first time Maruti has not only opened its Gurgaon factory gates, including its assembly line, for a film shooting, but is also strategically positioning Swift in the film.

"One has to segment the media and reach different kinds of customers. And what better way than cinema to reach the people in Tamil Nadu," says a Maruti spokesman. "We need to look at new ways to touch upon local sensitivity and regional sentiments," he said, while adding that roping in a regional brand ambassador may still be quite some time away.

"More and more clients are realising the effectiveness of product placement in regional films, especially if there is an apt fitment. Maruti is the first in the passenger car industry to capitalise on the growing popularity of this medium," says Sujit of Options, an agency that initiated the move with Maruti.

Copyright 2006, Bennett, Coleman & Co. Limited. All Rights Reserved.

Source: The Economic Times

Edited by dayita - 10 June 2006 at 5:32am
dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 10 June 2006 at 5:38am | IP Logged
Jillunu Oru Kadhal a Surya starrer
Chennai, India
Surya's next flick Jillunu Oru Kadhal is nearing its completion. The film is most expected as its a Suriya-Jyothika starrer. The film will have help from Goutham Menon as an associate. The film is directed by a debutant and  produced by Gnanavel.

Better of them all A R Rehman is scoring the music. The film has couple of songs in Canada. The film will be released this July.
ACV News 4
dayita Goldie

Joined: 01 May 2006
Posts: 1896

Posted: 10 June 2006 at 5:40am | IP Logged
Interview : Rahman is still unequivocal

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A R Rahman is back in the groove following the amazing success of the soundtrack of 'Rang De Basanti'. He has once again proved that he knows the nerve of the nation and as well read his director's mind to compose music that has an lasting effect in the minds of the listeners. After a glorious musical career in India, Rahman is forwarding towards his international career. We talk to him about his achievement with RDB's music and his prospect in the national and international scenario.

Excerpts from an interview:

Rang De Basanti's album has been well liked. How do you feel about it?

I wanted the music to get admired and accepted and I had put in my strenuous effort for it. But for the success of the music I have to give partial credit to Rakeysh Mehra. His enthusiasm has been my force and energy. The music workshop before composing helped me in a great way to understand the sequence better and compose likewise. I went ahead and experimented and put a slow song just before the interval and it worked positively.  I'm happy that Rakeysh Mehra treated the music in the film so well. Lyricist Prasoon Joshi, Rakeysh and me were adamant that the songs of RDB have to be chart busting.

Your equation with Aamir is good and may be that's the reason you always give good music for him.

Yes for Lagaan we surely did justice to each other. But Mangal Pandey received a mixed response. Being a composer I was not satisfied with the way the music was treated in the film. My favourite track 'Maula' was chopped, but these things are not in my hand. 
Do you agree that your Bollywood career had come to a halt and RDB revived it once again?
I disagree to it. The films that I was supposed to do got held up. So I was delivering music in breaks. Simultaneously I was also handling overseas assignments and also traveling regularly. There was so much to do there, Bombay Dreams, the stage version of Lord Of The Rings. Bombay Dreams paved the way for my international career. This projects meant a lot to me because they were my platform to my international career. It has really eluded me and I've gained the position through lots of hard work. But India is still prior to me and I'm composing music here as well.
What are the assignments that you are doing currently?

I'm composing the background score for Shekhar Kapoor's 'Elizabeth 2'. I'm very excited about it, as it is my first mainstream Hollywood production. The compositions are very different and we'll have original songs from the 15th century. I've also done the background music for Jagmohan Mundhra's Provoked and another Chinese musical. So lot of international music is happening right now. I'm cautiously picking my projects understanding the kind of music to put in, and choosing whether to do the scores or the background music for the kind of films. I'm handling all the international projects now situated in Chennai itself.

What are the Indian films that you're composing for?

I've restricted most of my works for musical and period films. There is Ashutosh Gowariker's 'Jodha-Akbar', Shyam Benegal's 'Chamki Chameli', Raj Santoshi's 'London Dreams', Mani Rathnam's 'Guru' and Rakeysh Mehra's 'Bhairavi'. For all of them I'm composing different music based on lots of research.

You also played in the US universities last month. How was it?

They have been playing my music for sometime now and were interested to do a world concert with me. I performed at the Global Rhythms in Michigan and at the Utah University. 152 people performed on stage in Tamil, Hindi and English.

Are you going to concentrate more on international project?

Hindi and Tamil films will always be a priority to me. Other international projects will only come next to it. I'm getting lot of overseas assignment but my work here is also important. I've invested lot in my Chennai studio, the only thing left to be done is to manage time.

Copyright 2006 by eneral/1/

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