Rajeev Rocks as Neerav Triumphs With 'Soundtrack'!
By MovieTalkies.com, 06 October 2011
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…
http://www.movietalkies.com/movies/reviews/20091/soundtrack
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