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A.R.Rahman (Fan Club) (Page 147)

Sudha_rn Goldie
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Posted: 29 July 2006 at 11:23pm | IP Logged

ROJA

Sudha_rn Goldie
Sudha_rn
Sudha_rn

Joined: 22 March 2006
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Posted: 30 July 2006 at 12:20am | IP Logged

In which year he won the Indian National Film Award for the film LAGAAN??

dayita Goldie
dayita
dayita

Joined: 01 May 2006
Posts: 1896

Posted: 30 July 2006 at 2:37am | IP Logged
In the year of 2002.

Edited by dayita - 30 July 2006 at 2:47am
dayita Goldie
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Posted: 30 July 2006 at 2:40am | IP Logged

Bollywood calling

By Alice T. Carter
TRIBUNE-REVIEW THEATER CRITIC
Sunday, July 30, 2006

"Bombay Dreams" is not for those who come bearing expectations of complex characters, a serious plot and deep messages, says producer Nick Manos. "This is an old-time American musical set in Bollywood. Its themes and ideas are those you would have seen in the '30s and '40s. It's an evening of fast-paced fun, catchy songs -- and a fountain onstage," Manos says. Manos is the managing director of Theater of the Stars in Atlanta, where "Bombay Dreams" was created as a co-production of the Independent Producer's Network, which includes Pittsburgh Civic Light Opera. A musical created by Andrew Lloyd Webber and the prolific Indian composer A.R. Rahman, "Bombay Dreams" opened in London in 2002 and had a yearlong Broadway run that began in April 2004. Set in Bombay, India, the musical blends elements of Indian song and dance with more familiar American musical theater traditions. Think of it as Andrew Lloyd Webber's "Joseph and the Amazing Technicolor Dreamcoat" meets the music of Ravi Shankar, Manos says. The show arrives in Pittsburgh on Tuesday. Along with the big, splashy production numbers that surround it, the story of "Bombay Dreams" might have been lifted right out of movie musicals such as "42nd Street" or "Singin' in the Rain." Akash, a young man from one of Bombay's poorest neighborhoods, dreams of becoming a movie star. When he unexpectedly meets Priya, the movie-star daughter of one of Bollywood's most prominent film directors, he's catapulted into the world of glamor, romance, wealth and fame that he dreamed of. He also finds himself at the apex of a love triangle that involves Akash, the beautiful Priya and Vikram, her lawyer boyfriend. But realizing that dream might destroy his friendships, family ties and cultural links. Filled with colorful Indian saris and the exotic, often hypnotic cadences of Indian music, "Bombay Dreams" is set within the Bombay-based Indian film industry informally referred to as Bollywood. Bollywood is a term many use to identify the widely popular style of Indian movie making that incorporates colorful and lively song-and-dance numbers within a highly charged storyline enhanced by spectacle. "People will flock (to these movies) because they know they are going to get a piece of what they want to see -- romance, adventure, exotic locales," says Deep Katdare, who appears in "Bombay Dreams" as Vikram. The musical "Bombay Dreams" fuses elements of Eastern and Western art, Katdare says. "There are elements of the Broadway musical ... the songs written by Don Black sound like songs you would get from that -- the belt song, an ensemble piece that's quirky and funny. At the same time, the songs with Hindi lyrics and the dances associated with them are unique. ... The audience leaves humming tunes or mouthing out lyrics in Hindi to 'Chaiyya Chaiyya'and 'Shakalaka Baby.'" In adapting "Bombay Dreams" for the national tour, Manos knew he couldn't afford to reproduce the double revolving turntable or the 10,000-pound Bombay slum set that was featured in the London production. "It's now set on a Bollywood sound stage and (plays with the question) is this real life or are we making a movie?" Manos says. Manos also slimmed down the running time from its two hours and 40 minutes on Broadway to a more audience-friendly and efficient two hours and 10 minutes. That's far shorter than the average Bollywood film, which runs upward of three to three and one half hours and features extended dance scenes. "It's hard to do a nine-minute dance number onstage," Manos says. As he streamlined the production, there were some things Manos insisted on retaining. "I wouldn't have done it without the drums onstage or the fountain effect," he says. The orchestra includes traditional Indian musical instruments necessary to accurately perform A.R. Rahman's score. Although not well known in the United States, Rahman has composed the musical scores for more than 75 movies, including "Lagaan: Once Upon a Time in India," a 2002 nominee for the Academy Award for best foreign-language film. Rahman also wrote the score for the stage musical "The Lord of the Rings" that opened this spring in Toronto. The musicians appear onstage on two raised platforms. Manos knows that water is a frequent, almost essential, element in Bollywood films. So retaining the fountain scene from the original production also was essential. "I"m not sure where (the use of water) started, but it's the idea of purity, of cleansing from the problems you have," Manos says before adding: "You can't do Bollywood without wet saris." Bollywood 101 According to Neepa Majumdar, who teaches a course on Indian film at the University of Pittsburgh, the term Bollywood is a recent media invention. "It is highly misleading as a term of description unless it refers specifically to post-1990s films produced in Bombay," Majumdar says. When most fans use the term, they're thinking about those Indian films that incorporate big, splashy song-and-dance numbers, melodramatic plots, exotic locations, flashy costumes and support of traditional Indian and family values, and attract huge audiences in India as well as in countries with large Indian populations such as the United States, Canada, Britain and Australia. They also can become an addictive guilty pleasure. Below is a list of Bollywood-style films to get you started. To learn more about popular Indian films, including an annotated list of films for the newly interested, check out www.uiowa.edu/~incinema/Top%20Ten.htm. Holly/Bollywood A blend East and West, these recent films, available on DVD, incorporate elements of Indian and Hollywood-style filmmaking and can serve as an introduction to the genre: "Bend It Like Beckham" (2002) Jess wants to play soccer like British soccer idol David Beckham. Her parents would be a whole lot happier if she'd follow her sister's example and become a proper, traditional Indian woman. In English or Hindi. "Bride and Prejudice" (2004) Jane Austen fans will enjoy watching her classic "Pride and Prejudice" reworked with an Indian accent. The Bakshi family celebrates the arrival of the British-born Mr. Bralaj, who's bound to be the perfect partner for one of the family's four unmarried daughters. In English or Hindi. Katar's picks "Bombay Dreams" actor Deep Katar recommends the following films, available on DVD: "Dil Se" (1998) The story of Amar, a reporter for All-India Radio who meets -- but is rejected by -- the girl of his dreams. He returns home to Delhi and consents to a family-arranged marriage. Then the woman who rejected him unexpectedly reappears, and Amar learns she is a suicide bomber one day away from completing her mission. English subtitles. "Devdas" (2002) A Bollywood blockbuster about a pair of star-crossed lovers whose bond is broken in a moment of weakness. English subtitles. "Sangam" (2000) Stars and is directed by Raj Kapoor. Features a love triangle between childhood friends -- Sunder, Gopal and Radha. Gopal and Radha have long loved each other. Then Sunder asks Radha's parents if he can marry her, but they turn him down. Rejected, he joins the army and soon after is reported as dead. Gopal and Radha decide to marry, then Sunder returns, forcing Gopal to choose between his friend Sunder and his fiancee Radha. English subtitles. Popular Bollywood-style films "Monsoon Wedding" (2001) Five different stories intersect as an extended Indian family converges on New Delhi for a wedding. Romances blossom, long-held secrets are revealed, and everyone dances. In English or Hindi. "Lagaan/Land Tax" (2001) Indian epic set in 1890s India. When villagers complain about a newly imposed land tax, the British commander challenges them to a cricket match. If they win, they'll get a three-year exemption on paying the tax. If they lose, he will triple the tax. A 2002 Academy Award nominee for best foreign-language film. In Hindi, or in English with the title "Land Tax." "Taal" (2000) Wealthy traveling businessman falls for small-town singer. After he returns to the city, a successful composer transforms her into a big star at the apex of a love triangle. The first Hindi movie to appear on the top 20 box-office list in the United States. In Hindi. Quirky extras "Bollywood Bound" (2000) A documentary about four ethnically South Asian Canadian-born actors who travel to India with aspirations of becoming Bollywood stars. In English. "Honey Kalaria's Bollywood Workout" (2003) An aerobic exercise video based on the dance moves of Bollywood and Bhangra dance routines. Segments include an introduction to hand and foot movements, a warm-up, two workouts, a cool-down and an advanced dance. In English. "Bollywood/Hollywood" (2002) This satire of the conventions of Indian movie musicals finds a young man in love with a Canadian pop star engaged in a conflict with his traditional Indian family. English subtitles.

Alice T. Carter can be reached at acarter@tribweb.com or (412) 320-7808.

http://www.pittsburghlive.com/x/pittsburghtrib/s_463869.html

dayita Goldie
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Joined: 01 May 2006
Posts: 1896

Posted: 30 July 2006 at 2:50am | IP Logged

Reshammiya is doing a good job: A.R. Rahman

Post Rang De Basanti, A.R. Rahman the threshold of 40, Has Gone into a fresh Stratosphere. He talks to Subhash K Jha...

Q: How did Rang De Basanti 's soundtrack turn out so special?
A: It was a special effort. Very rarely does one come across filmmakers who excite and enthuse you as much as Mani Rathnam, Ram Gopal Varma and Rakeysh Mehra. Just before shooting we did a workshop with all the music I had composed for my film.

I discovered there was a slow song just before interval which was a no-no according to trade pundits. They were wrong. Earlier I had thought people would walk out in Tu hi re in Roja, O paalan haare in Lagaan and now Lukka chuppi in Rang De Basanti. I was wrong. It all depends on how the director treats the music.

Q: How did the music of Rang De Basanti evolve?
A: First of all, it was conceived four years back when I was doing The Legend Of Bhagat Singh. And since Rang De Basanti was also partly about Bhagat Singh I was reluctant to do it.

Fortunately Rang De got delayed and because of the over-dose of patriotism within the 'period' format, we re-considered the entire structure of Rang De…. The first meeting we had with Rakeysh and lyricist Prasoon Joshi we decided, we're going to make all the songs super-hits.

Q: How on earth do you decide that ?
A: It was a complex theme. We decided it shouldn't be preachy and the songs shouldn't follow a fixed pattern. For example the farewell song after the heroes' death must not be mournful. We decided to make it upbeat. That's how Rubaroo came in. Khoon chala had very dark poetry. We decided to turn it into a love song.

There're situations in this film that I had never encountered before. It all happened for the good. God's great. Rakeysh isn't a normal kind of guy. He's open to unpredictable patterns in his movie and music. He never said, no this can't work.

A Rang De Basanti can't be done with everyone. Sometimes when you put forward a new idea the filmmaker laughs at you. When I saw Rakeysh's Aks on DVD I saw how well it worked chapter to chapter, but not in totality. Now in four years he and his team had really grown. Then there was Aamir….

Q: There's always something special from you for Aamir.
A: Like Mangal Pandey? (laughs). Jokes aside, people did like the music. People liked some of the songs. But my favourite Maula which was supposed to be in the whole climax, was chopped off after one stanza. There're so many factors that a composer can't control.

Q: During our last conversation you had said Chennai would always be your home
A: You never know. I'm trying to cut down drastically on my travelling. Though it was a learning experience I need to be at home more now. The kids are growing up. I need to be with the family more often. A year back I didn't allow my kids to be anywhere me. Now they're all over the place while I compose. I think it's very important for them to absorb the ambience.

Q: Are your children musically inclined?
A: They've just started learning classical music from Ghulam Mustafa Khan Saab. Just last week he came and took over their training.

Q: Your slow pace used to be a problem for Bollywood filmmakers.
A: How can my working methods be a problem to anyone ? It's like saying, sitting and eating is a problem, so let's stand and eat. Every person has his own rhythm of work. I believe Naushad Saab did just only 47 films in his lifetime. And he never regretted it. And look at what he did to film music. I've my own way of working.

It's a matter of priority. When I'm doing something that I don't enjoy doing, when I'm not in control then the quality of work might suffer. I'm at my best when I'm in control of my work. Change of course is inevitable. That's why I keep renovating and innovating.

Q: What are you doing in Hindi? Rakeysh Mehra has given you to do an entirely Indian classical score in Bhairavi?
A: This was one of the scripts we wanted to do earlier. Now the whole concept has changed and it's far more exciting. Most of the work that I'm doing is for musicals. And yes, a period film too…Ashutosh Gowariker's Jodha-Akbar. It's a romantic film, and romantic films always work.

I also have Chamki Chameli which Sanjay Gupta is producing and Shyam Benegal is directing. It's a full-on musical. I also have Raj Santoshi's London Dreams.

There I've to recreate British underground music…Punjab meets Southhall….I'm collaborating with music producers from Birmingham to get the London underground feel to the score…Right now I'm doing Mani Rathnam's Guru where I'm again working with Gulzar Saab.

Q: Do you understand his lyrics?
A: I do. I'm not that dumb any longer (laughs).

Q: Guru is again a period film.
A: There are period films, and period films. There're period romantic films, patriotic period films. Guru is partly period partly contemporary. No one wants to watch patriotic period films anywhere but on DVDs.

Q: Do you think international success has eluded you?
A: It can't happen overnight. But I won't let my career in Hindi and Tamil films for projects abroad. My agent keeps telling me I'd get a lot of work in LA if I went there. But what I'm doing here is more important. I've invested a huge amount in my studio in Chennai. I need to invest time in it.

Q: How does life look to you?
A: Life is always a struggle. I feel I'm just starting out. I can't afford to get lazy at 40. Lots of things have changed. Lots of young people love music, and that's a good thing. But music doesn't sell, and that's a bad thing.

Q: What do you think of Himesh Reshammiya's music?
A: He fills a lacuna in Hindi film music, just like Nadeem earlier on. He's trying to mix a lot of genres. People like his music. It's good. There're audiences for large genres of films. And he's doing a good job.

Q: Himesh says he won't sing for any outside composer except you.
A: I'm flattered.

Q: Do you think you've achieved what you had set out to?
A: I didn't set out to achieve anything. It all happened on its own. I always go with the flow.

http://www.santabanta.com/cinema.asp?pid=11347
dayita Goldie
dayita
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Joined: 01 May 2006
Posts: 1896

Posted: 30 July 2006 at 2:56am | IP Logged

Aamir finally gets Mani power!

Riding high on the success of Fanaa, Aamir Khan, has pulled another by bagging a Mani Ratnam movie now.

The perfectionist star has signed Ratnam's Lajjo, which will be produced by Bobby Bedi and is expected to go on the floors by December end, after the release of his film Guru on December 22.

Though the pruducer is extremly tight-lipped about the film's details, we hear that it is a musical love story based in Rajasthan. The shooting for the film will start in December and A R Rahman is giving the music.

Will there be a clash of egos between the star filmmaker and the thinking actor? Or will it be smooth sailing on the sets? Come December, we'll know more.

http://www.santabanta.com/cinema.asp?pid=11351
dayita Goldie
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dayita

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Posts: 1896

Posted: 30 July 2006 at 3:11am | IP Logged
Maestro Illayaraja recently claimed to have composed innumerable enchanting tunes in his 800-odd films from his 'heart' than in conventional manner. Maestro Illayaraja recently claimed to have composed innumerable enchanting tunes in his 800-odd films from his 'heart' than in conventional manner. "Even legendary Mozzart composed in a similar fashion," stated the ace composer who is doing a Telugu film with Vamsi after a considerable gap. "I discovered a spark in the 11-year-old AR Rahman when he played the keyboard for me. Today I am happy with his progress," says the legendary musician who brands music directors as 'arrangers' than 'composers' and predicts bleak future for present-day songs. He is also making a comeback to Hindi films with Cheeni Kum and Shiva.

Taking a cue from the the musician-par-excellence, hope our composers will dig out 'refreshing' tunes that would remain etched in the minds of millions of music lovers 'forever'?

http://www.screenindia.com/fullstory.php?content_id=13110

sammie IF-Rockerz
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Posted: 30 July 2006 at 9:34am | IP Logged
dayita now post the next question too

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