Tuesday, December 28, 2010

Dil Toh Baccha Hai Ji - Music Review

Read more! Cast :: Ajay Devgn, Emraan Hashmi & Omi Vaidya

There are good expectations from the music of Dil Toh Baccha Hai Ji for multiple reasons. Firstly and most importantly, the film bings together the team of Pritam, Emraan Hashmi and Ajay Devgn which did wonders in Once Upon A Time In Mumbaai earlier this year. Secondly, the film showcases a new side of Madhur Bhandarkar with romcom being the chosen flavour. For his last musical Fashion, he had extracted some fantastic musical score from Salim-Sulaiman. One expects him to have done something similar for his newest endeavour as well. Neelesh Mishra, Kumaar, Sanjay Chhel and Sayeed Quadri write.

The album begins with a song which is pretty much the kind that one expects from a Pritam-Emraan combo. A soft love song with a childlike feel to it, hi Kuch Dino Se has a quintessential Mohit Chauhan stamp to it as the singer gets behind the mike. Also, one can't miss the countryside melody to it as Pritam spins a tune that is easy on ears and becomes catchy after a single listening itself. While the mukhda hooks you instantly, the 'antara' is set in the 70s and brings one close to the kind of middle-of-the-road cinema which was made in that era. A song by Neelesh Mishra which should get popular in weeks to come.

The song which should appeal instantly to all those who have grown on Sonu Nigam%s songs from Deewana, Yaad and Jaan (three cult non-film albums that the singer made a few years ago) is %Tere Bin%. Easily the song of the album, 'Tere Bin' has some heart felt lyrics by Kumaar (the young man is indeed spinning some very good words film after film) that make an instant connect with those deeply in love. Yet again, the 'sur' of the album doesn%t see any deviation whatsoever with first 'hi Kuch Dino Se' and now %Tere Bin% ensuring that the melody being created here remains intact.

No wonder, this song is special enough to be repeated in a 'remix version' (one doesn't quite mind that here) as well as the 'reprise version' (by Naresh Iyer). Though there is absolutely nothing wrong with Naresh%s version here (in fact it doesn%t even sound much different either), one would still want to go back to what Sonu renders.

To bring in some variety in the album comes 'Yeh Dil Hai Nakhrewala' which is a jazz track sung by new find Shefali Alvaris. Frankly, this is one sing that one takes time to warm up to. Again, the song doesn't offend one by any means. However, in an album where one was primarily hunting for a few more love songs, a naughty track like this which is written by Neelesh Mishra and has a 50s/60s setting to it, isn't quite the kind that one was expecting to come soon after. The 'remix version' though (by Antara Mitra) is spunkier and does catch your attention.

Nevertheless, one moves on to 'Jadugari' which again ends up giving what one was expecting from a Pritam soundtrack here. A rhythmic number which again has soft undertone to it, 'Jadugari' has a soft feel to it, courtesy the manner in which Kunal Ganjawala sings it. While one is tempted to believe that this would be picturised on Emraan Hashmi, it won't be surprising if Ajay Devgn manages to bag it as well. A song with a trademark Pritam feel to it, 'Jadugari' appears effortless and this is where its win lies.

Last to come is 'shuba' which is the first and the only duet in this album made of solo tracks. Antara Mitra is in her elements once again after 'Bheegi Si' (Raajneeti) and it is just apt that she takes the lead in this love song which has some new lyrics by Sayeed Quadri. She is later joined by Kunal Ganjawala who further adds on to the youth appeal of the album. Yet again, 'shuba' is one of those songs where just one listening can confirm that it is a song composed by Pritam.

Dil Toh Baccha Hai Ji is a good album which has a consistent sound to it (except for 'Yeh Dil Hai Nakhrewala' which is not bad but does deviate a little from the rest of the songs). As expected from Madhur Bhandarkar, he makes Pritam compose some classy tunes which go well with the urban romcom genre. Due to this reason, the album doesn't have any hardcore massy number that could have possibly acted as an anchor on which Dil Toh Baccha Hai Ji could have entirely depended upon. This also means that the album would need a certain time period in which it can be nurtured so that it finds widespread all around acceptability. This Pritam soundtrack would find more audience for itself once the film releases and turns into a (possible) success.

Download Dil Toh Baccha Hai Ji MP3 Songs
01 - Abhi Kuch Dino Se@review-of-movies.blogspot.com
02 - Tere Bin@review-of-movies.blogspot.com
03 - Yeh Dil Hai Nakhrewala@review-of-movies.blogspot.com
04 - Jadugari@review-of-movies.blogspot.com
05 - Beshuba@review-of-movies.blogspot.com
06 - Tere Bin (Reprise)@review-of-movies.blogspot.com
07 - Yeh Dil Hai Nakhrewala@review-of-movies.blogspot.com
08 - Tere Bin (Remix)@review-of-movies.blogspot.com

01 - Abhi Kuch Dino Se@review-of-movies.blogspot.com
02 - Tere Bin@review-of-movies.blogspot.com
03 - Yeh Dil Hai Nakhrewala@review-of-movies.blogspot.com
04 - Jadugari@review-of-movies.blogspot.com
05 - Beshuba@review-of-movies.blogspot.com
06 - Tere Bin (Reprise)@review-of-movies.blogspot.com
07 - Yeh Dil Hai Nakhrewala@review-of-movies.blogspot.com
08 - Tere Bin (Remix)@review-of-movies.blogspot.com

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Saturday, December 25, 2010

Tees Maar Khan - Movie Review

Read more! Cast :: Akshay Kumar, Katrina Kaif & Akshaye Khanna

Farah Khan’s comic caper has a lot riding on it. It’s Farah breaking out on her own, free from collaborations that were safe bets from within a comfort zone. In some way it’s a comeback for Akshay Kumar whose had a horrible year of releases. And it’s also Katrina Kaif strongest claim for the top Bollywood heroine slot. (if she doesn’t already own it?)

A lot of question surround this movie but you forget about all of that within minutes when Tees Maar Khan theme song kicks in.

I’ll try my best not to spoil too much of the movie as I was fortunate enough to catch an early preview in London; but honestly speaking I could only spoil some of the comedic beats,not much of the plot.

It’s a pretty straight forward masala caper and most of the set up is in the trailers.

Tees Maar Khan urf Tabrez Mirza Khan ,the biggest con artist in the world, is hired to rob a train carrying an immense treasure for a set of conjoint twin “villains”. He also is a shameless plugger of his own name. There was maybe one too many reference to the title of the movie to my taste but all that is not important for what we get is easily one of the funniest and most entertaining entertainers of the year.

It’s what Housefulll wishes it was, what Action Replayy could never accomplish and what Golmaal lies in bed at night crying it could be one day.

First, I would suggest that if you have a chance, go and watch this movie on the big screen. Partly because it’s the kind of movie that is elevated with a participating audience and partly because it needs the big canvas so you can soak up all the gorgeousness in every shot.

I have a pretty good media set up at home but in no way could I understand the awesomeness of Sheila Ki Jawaani until I saw it today.

There were many discussions the previous weeks about which was the best item number of the year: Munni Badnaam Hui from Dabangg or Sheila Ki Jawaani.I am still not sure I have an answer for that question but what I can tell you is that there were moments in Sheila ki Jawaani that Katrina Kaif took the entire audience’s breath away.

It is EPIC and if I could, I would rewind it and watch it again. You might not be able to do that in a cinema (unless you’re Raja Babu) but what you do get in the theatre experience is the full force of Vishal- Shekar‘s “saaand” blaring through the speakers and every minute detail of Katrina’ s performance elevating the song to a whole new level.

In my opinion Katrina delivers the strongest female comedic performance since Kareena Kapoor in Jab We Met. She is hilarious in every scene as Anya Khan the wannabe Starlet/Item girl and I really hope people stop asking her to prove herself over and over again. I think she has been doing that in her recent roles and this is probably one of her bests.

When reviewing our best Bollywood soundtracks of 2010 (click here) we thought that the Tees Maar Khan OST was maybe not the greatest (I am still not convinced of the Sonu Nigam’s Chipmunk voices) but it could only be fully judged when seeing it picturized. And lo and behold I was humming the songs exiting the theatre and want to get my hands on the soundtrack as soon as I can.

Although Salman Khan’s cameo in Wallah Re Wallah is featured in the promos, it still manages to send a bolt of excitement through your spine.

The first half of the movie just breezes by and the second half has a bit of a slower start but manages to put in a lot more heart in the movie.

So now on to the Khiladi. See I’ve always been fond of Akshay Kumar (especially his work ethic and just plain sincerity) but somewhere his lovable loud mouthed buffoon shtick and those indistinguishable Priyadarshan comedies just turned me away from him.

A movie that I unashamedly loved back in the day was “Mr. and Mrs. Khiladi” ,probably not the most discerning of choices, I admit but Akshay was amazing in it. That’s the kind of Akshay we get here. he is again ahead of the world, a real hero character kids would want to emulate (those fluorescent Jersey Shore Shirts can be omitted) . Someone who is witty, funny and confident. I don’t know if he ad-libs some of his lines in that throw away manner but it makes me crack up everytime and actually believe in Akshay as a leading man again.

Unfortunately for my non-hindi speakers the subtitles were not able to catch every joke thrown in but there are so many if you miss one you’ll surely catch the next one.

There are even “Inception- like” levels of joke-within-a-joke which film geeks can play filmi-bingo with. I would suggest inventing a drinking game around it, someone catches a reference and everyone drinks. Even I jumped with joy seeing Anil Kapoor’s most iconic dance and the whole Master India sequence. (Boney for reals, can we get that Mr.India sequel already??)

But you can also just enjoy the movie just as a fun masala caper with great dances and and performances from the lead as well as the supporting cast (woohoo Avtaar Gill!!) and we even get the final sequence where the whole team apears.

Akshay Khanna is hilarious as the oscar obsessed Bollywood superstar, some will claim it’s inspired by Amir or Shahrukh but I don’t see it really or at least nothing to create news stories about but I’m sure that won’ stop people.

There are certain moment that I did feel the ghost of Shahrukh Khan, who was rumoured as the main lead, loom over Tees Maar Khan. In some of Akshay’s hero poses, comedic repartés and even some of the choreography, you can can almost imagine what Shahrukh would have done with it. Even a few of the sets and décors were eerily similar to Om Shanti Om. But although fun to speculate that’s just context with no real importance to the film.

All in all I think this movie is a great move for Farah, Shrish Kunder and her production company in developing her Manmohan desai style even further. I am truly looking forward to her next paisa vasool flick but until then: go watch Tees Maar Khan on the big screen NOW!

Download Tees Maar Khan MP3 Songs


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Saturday, December 11, 2010

No Problem - Movie Review

Read more! Cast :: Anil Kapoor, Sanjay Dutt, Akshaye Khanna, Suniel Shetty, Sushmita Sen, Kangna Ranaut, Paresh Rawal, Neetu Chandra

Take two petty crooks (Sanjay Dutt and Akshaye Khanna), a mean gangster and his moll (Suniel Shetty and Neetu Chandra), a bumbling cop and his schizophrenic wife (Anil Kapoor and Sushmita Sen), a bimbette on the beach (Kangana Ranaut), a bank heist and a puppet in the hands of all these people (Paresh Rawal) and shake them all together in madcap measure...End result: a bunch of clueless people hunting for a cachet of stolen diamonds and relentlessly stepping on each other's toes.

Anees Bazmee is fast donning the mantle of the comedy king in commercial Bollywood. Having delivered big laugh riots like Singh is Kinng, Welcome and No Entry, Bazmee seems to be spinning box office magic in a style reminiscent of David Dhawan's oeuvre during the 1990s. There's a similar incoherence and a method in his madness as he spins implausible yarns that have just one objective. They want to tickle your funny bone, any which way, even if means throwing reason and logic out of the window. But hey, when did the desi box office ever bother about inanities like sense and sensibility.

So go ahead and have a blast with a film that celebrates chaos and hopes to be the stress buster you have been looking for after a hectic twenty-tenner. And yes, don't forget your crispies because this one's meant to pop the corn with its crazy characters and its cornball humour. Leading the brat pack is Anil Kapoor who tries a desi Pink Panther with his foolish cop act. He may have the responsibility of nabbing all the criminals running around in sylvan South Africa, but rest assured his handcuffs -- meant for the bad guys -- are always going to hang loose on his hips and the bullets in his gun will never meet their target. Small wonder then, H@rdC0re robber Marco (Suniel Shetty) can barely stifle a yawn when the bumbling officer announces his arrival. But his foolishness elicits the best response from his wife, Sushmita Sen, who is torn between loving her husband or killing him for his stupidity. Her murderous bouts are the high point of the film, as are Paresh Rawal's attempts to set things right by setting them all wrong. Both Sanjay Dutt and Akshaye Khanna too seem to get their comic timing right as the goon buddys who are out to make a fast buck. Sadly, Kangana Ranaut's attempts to re-fashion her image from girl interrupted to giggly-headed beauty queen don't seem to have an edge.

The film does seem to be roughly edited in places and could do with some nips and tucks. Even the music (Sajid Wajid, Pritam, Anand Raj Anand) doesn't have the chartbuster flavour of the Singh is Kinng audio track. But rest assured, No Problem will make you forget your problems, provided you are willing to get goofy and give up your quest for meaning in masala.

Download No Problem MP3 Songs
01 - No Problem (2010) - No Problem@review-of-movies.blogspot.com
02 - No Problem (2010) - Shakira@review-of-movies.blogspot.com
03 - No Problem (2010) - Babe Di Kripa@review-of-movies.blogspot.com
04 - No Problem (2010) - We Are Innocent@review-of-movies.blogspot.com
05 - No Problem (2010) - Mast Punjabi@review-of-movies.blogspot.com
06 - No Problem (2010) - Babe Di Kripa (Remix)@review-of-movies.blogspot.com
07 - No Problem (2010) - Shakira (Remix)@review-of-movies.blogspot.com
08 - No Problem (2010) - Mast Punjabi (Remix)@review-of-movies.blogspot.com

01 - No Problem (2010) - No Problem@review-of-movies.blogspot.com
02 - No Problem (2010) - Shakira@review-of-movies.blogspot.com
03 - No Problem (2010) - Babe Di Kripa@review-of-movies.blogspot.com
04 - No Problem (2010) - We Are Innocent@review-of-movies.blogspot.com
05 - No Problem (2010) - Mast Punjabi@review-of-movies.blogspot.com
06 - No Problem (2010) - Babe Di Kripa (Remix)@review-of-movies.blogspot.com
07 - No Problem (2010) - Shakira (Remix)@review-of-movies.blogspot.com
08 - No Problem (2010) - Mast Punjabi (Remix)@review-of-movies.blogspot.com

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Posted by review-of-movies at 5:58 AM 0 comments
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Tuesday, December 7, 2010

Yamla Pagla Deewana - Music Review

Read more! Cast :: Dharmendra, Sunny Deol, Bobby Deol, Kulraj Randhawa

One does expect the soundtrack of Yamla Pagla Deewana to be loaded with Punjabi flavoured songs from beginning till the end. Reason is obvious - the film has the entire Deol family coming together and unlike Apne, their last outing together, this one is far more 'desi' in appeal. However, one is a tad taken aback to see that instead of one single composer being entrusted with the responsibility to create an out and out masala soundtrack, there are RDB, Nouman Javaid, Anu Malik, Sandesh Shandilya and Rahul B. Seth getting a song or two apiece. Really, at this point one is not really sure about what would actually be in the offing.

Thankfully, the album takes a positive start, what with Dharmendra's smash hit chartbuster 'Yamla Pagla Deewana' making a comeback decades after it first made a country-wide impression. A rearranged version of the Laxmikant-Pyarelal song, 'Yamla Pagla Deewana' retains its overall flavour not just composition-wise but also when it comes to Anand Bakshi's lyrics. RDB does contribute a little with additional lyrics and interludes but the song doesn't loose it's originality at all. Sonu Nigam is just an apt choice to sing this one and along with Nindy Kaur, he indeed does a good job in this song. 'Yamla Pagla Deewana' arrives again in a 'House Mix' version that should find its way into the DJ's list of most preferred songs this season.

Nouman Javaid composes 'Charha De Rang' and one gets a solid impression that the makers were most confident about this track. Reason being that it appears as many as four times in the album. None of them are 'remixes' though and are just different parts of the song. A soothing track sans any Western influence whatsoever, 'Charha De Rang' retains its Indian flavour right through its four and a half minutes duration. A love song which has Ali Pervez Mehdi, Rahat Fateh Ali Khan, Shweta Pandit, Mahalaxmi Iyer and Rahul B.Seth coming in different parts, at places it does remind of 'Saudebaazi' [Aakrosh]. However, the similarity is just restricted to a strong Indian flavour but that's about it. Written by Rahul B.Seth and Nouman Javaid, it is a decent track where female singers actually end up bringing in far more energy than their male counterparts.

One is not too sure about what exactly do the lyrics 'Tinku Jiya' stands for. However, the fact still remains that this Anu Malik composition is what promises to be a 'masala' outing for the masses. Rest assured, if this song is choreographed on the same lines as a 'Beedi Jalaile' [Omkara] or 'Munni Badnaam' [Dabangg] then there won't be anything stopping this one from finding good audience, especially in interiors of the country. A kind of track that one would associate with a 'Bhojpuri' film, 'Tinku Jiya' (which has Anu Malik turning lyricist as well) promises to be a raunchy number with Mamta Sharma and Javed Ali going all out to keep the momentum on.

In an album like Yamla Pagla Deewana, one didn't expect a quintessential love song. However, there is 'Sau Baar' which is inspired by Pakistani-pop and actually reminds one of many a songs that have been sung by Atif Aslam. This time around it is Omar Nadeem at the helm of affairs and while his 'mukhda' is good, the 'antara' that he shares with Shreya Ghoshal turns out to be barely ordinary. Though one would have really wanted this song to be exciting enough, considering the fact that composer Sandesh Shandilya and lyricist Irshad Kamil come together all over again, the results aren't fantastic.

After 'Tinku Jiya', composer/lyricist Anu Malik and singer Mamta Sharma come together all over again for 'Chamki Jawaani'. Initial portion of the song is on the same lines as 'Kajraare' [Bunty Aur Babli]. However, what follows next is not even close as 'Chamki Jawaani' hardly manages to excite. Now this is a surprise since the male singers behind the mike are Daler Mehndi and Master Salim but still, the song turns out to be hardly foot tapping. At this point, one starts getting doubts around the rest of the album since 'Chamki Jawaani' fails to impress.

Unfortunately the album only continues to go downhill with 'Son Titariya', yet another item number with a 'desi' flavour to it, doesn't catch your attention. In fact one starts wondering at this time around that why is Yamla Pagla Deewana taking a UP/Bihar route when one would have expected a trip to Punjab. Is it the 'munni badnaam' factor, one wonders, even as composer Rahul B.Seth doesn't quite succeed in creating any magic whatsoever along with singer Krishna Beura.

Thankfully there is some Punjabi flavour (finally) in the album with 'Kadd Ke Botal' which is written by Dharmendra himself. A celebration track which is put to tune by Rahul B.Seth and has Sukhwinder Singh, Harshdeep and Rosalie Nicholson teaming up for this 'dhol' and 'bhangra' track, 'Kadd Ke Botal' is decent but again not the kind that would top the charts in 'Yamla Pagla Deewana'. The album concludes with a much expected 'Gurbani'. A minute long piece from Shri Guru Granth Sahib, it is a devotional track which is put to tune by Sanjoy Chowdhury and sung by Shahid Mallya.

Even though the album is a loaded affair with as many as seven original pieces, the few tracks that manage to make an impression are (expectedly) the title song from the past and an item number 'Tinku Jiya'. 'Charha De Rang' can be given a few listening as well but the rest don't quite manage to make an impression despite an attempt at winning over the massy audiences. Really, one expected a far better outcome from Yamla Pagla Deewana than what it eventually has to offer.

Download Yamla Pagla Deewana MP3 Songs
01 - Yamla Pagla Deewana@review-of-movies.blogspot.com
02 - Charha De Rang@review-of-movies.blogspot.com
03 - Tinku Jiya@review-of-movies.blogspot.com
04 - Sau Baar@review-of-movies.blogspot.com
05 - Chamki Jawaani@review-of-movies.blogspot.com
06 - Son Titariya@review-of-movies.blogspot.com
07 - Kadd Ke Botal@review-of-movies.blogspot.com
08 - Yamla Pagla Deewana (House Mix)@review-of-movies.blogspot.com
09 - Charha De Rang - 1@review-of-movies.blogspot.com
10 - Charha De Rang - 2@review-of-movies.blogspot.com
11 - Charha De Rang - 3@review-of-movies.blogspot.com
12 - Gurbani@review-of-movies.blogspot.com

01 - Yamla Pagla Deewana@review-of-movies.blogspot.com
02 - Charha De Rang@review-of-movies.blogspot.com
03 - Tinku Jiya@review-of-movies.blogspot.com
04 - Sau Baar@review-of-movies.blogspot.com
05 - Chamki Jawaani@review-of-movies.blogspot.com
06 - Son Titariya@review-of-movies.blogspot.com
07 - Kadd Ke Botal@review-of-movies.blogspot.com
08 - Yamla Pagla Deewana (House Mix)@review-of-movies.blogspot.com
09 - Charha De Rang - 1@review-of-movies.blogspot.com
10 - Charha De Rang - 2@review-of-movies.blogspot.com
11 - Charha De Rang - 3@review-of-movies.blogspot.com
12 - Gurbani@review-of-movies.blogspot.com

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Posted by review-of-movies at 7:15 AM 0 comments
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Saturday, December 4, 2010

Khelein Hum Jee Jaan Sey - Movie Review

Read more! Cast :: Abhishek Bachchan , Deepika Padukone

Adapting a work of literature into a movie is an arduous task. Satyajit Ray's 'Apu Trilogy' [PATHER PANCHALI, APARAJITO and APUR SANSAR] was based on two Bengali novels written by Bibhuthibhushan Bandopadhyay. Ray's SHATRANJ KE KHILADI was based on Munshi Premchand's short story of the same name. In fact, film-makers have always been fascinated by best-selling books/novels for adapting into feature films. Mira Nair's THE NAMESAKE, P.C. Barua, Bimal Roy and Sanjay Leela Bhansali's DEVDAS, Pradeep Sarkar's PARINEETA, Rajkumar Hirani's 3 IDIOTS, Atul Agnihotri's HELLO and the recent AISHA have been adapted from literary works. Even in Hollywood, LORD OF THE RINGS, HARRY POTTER, NARNIA and many more have been successfully adapted from novels by reputed names.

However, if you analyze the past, you will realize that not all movies adapted from novels/short stories have set the cash registers jingling at the box-office. Films like PINJAR, PAHELI, RAINCOAT and international experiments like BRIDE AND PREJUDICE and THE MISTRESS OF SPICES have found very few takers in the past.

This is not the first time Ashutosh Gowariker has adapted a book into a film. KHELEIN HUM JEE JAAN SEY is yet another book-to-movie adaptation by this talented storyteller [this one is based on the book 'Do And Die: The Chittagong Uprising 1930-34' by Manini Chatterjee]. Again, this is not the first time Ashutosh Gowariker has revisited the bygone era. He did it successfully in LAGAAN [period], then JODHAA AKBAR [historical] and now KHELEIN HUM JEE JAAN SEY [period].

Recreating the bygone era is indeed demanding, laborious and strenuous. It's a challenge to present the era convincingly. Besides extensive detailing to lend authenticity, the director carries the responsibility of making the characters come alive to the present-day generation. Gowariker has successfully done that in the past and does it successfully yet again in KHELEIN HUM JEE JAAN SEY.

Once the film-maker takes on the task of depicting a chapter from history, it's imperative that he/she remains factual to the depiction of the revolution, giving an accurate account of what actually transpired in that period. But details alone won't help, it needs to be well dramatized for the big screen. There's a vast difference in the style novels are written, but one needs to take extra care to make it film friendly. While I may not be able to comment on whether Gowariker has been faithful to the book or tampered with it or implemented some changes, which may be necessary to suit the tastes of the present-day spectators and make it more palatable, I would definitely like to say that what comes across on screen is very absorbing, truly informative and exceptionally inspiring.

Final word? The expectations from KHELEIN HUM JEE JAAN SEY are minimal, but you can't overlook the fact that it's a genuinely honest effort that needs to be encouraged and appreciated. I would like to add here that the promotional posters/billboards/promos don't create any impact whatsoever. Wish the makers would've looked into this very important aspect as well!

1930, British India: In the province of undivided Bengal lies the sleepy, peaceful port of Chittagong. In this unassuming little town, a revolution is about to begin; a revolution which will forever wake all of Chittagong and inspire the entire nation.

April 18. 1 night. 5 simultaneous attacks. A band of 64 - 56 innocent yet fearless young boys, 5 defiant revolutionaries, 2 determined young women, and an idealistic leader [Surjya Sen], a school teacher by profession.

This group of 64 represents a little-known chapter in history; a forgotten night that reigned terror on the British through a series of calculated attacks. This is a true story of these forgotten heroes and the narrative takes us through every step of the action from the initial trepidation, to the thrill of the attack, to the underground movement, daring escapes and tragic captures, and most importantly, their undying legacy.

A film-maker of extensive aptitude and sensitivity, Gowariker's tryst with period films continues. Seems like he has worked himself to the grind in order to attain perfection. The writing [screenplay: Raoul V. Randolf and Ashutosh Gowariker] and execution of the material are so credible that it influences you to wonder if the writers and director were part of the revolution. The Bengali ethos and the behavioral patterns of the characters, recreating the etiquette and body language of people who lived in a different era along with their attire and styling and also their dwellings come across as very pragmatic. In fact, Gowariker has left no stone unturned to make a film that does justice to the event.

KHELEIN HUM JEE JAAN SEY has almost entirely been shot in Goa and not Chittagong [now Bangladesh] because the location that was there in the 1930s no longer exists in that shape, I understand. However, the film captures the spirit and intensity to perfection. On the other hand, with Gowariker's films, the length/running time of the film is always a topic of discussion and that's a problem with KHELEIN HUM JEE JAAN SEY as well. The film has a running time of approx. 2.48 hours and the editor [Dilip Deo] and director could've easily trimmed a few fight sequences in the second half, to make the goings-on crisper.

Musically, KHELEIN HUM JEE JAAN SEY is embellished with soft and soothing compositions, but I have an issue with that. Sure, the album is high on patriotic sentiment, but the songs in the first hour act as a roadblock in the narrative. Ideally, it should've been a songless film. However, the background score [also by Sohail Sen] enhances every scene, making it more impactful. The production design [Nitin Chandrakant Desai] transports you to that era. It's that authentic. The stunts [Ravi Dewan] are true to life. Kiran Deohans and Seetha Sandhiri's cinematography captures the era to perfection.

Abhishek as Surjya Sen suits the character right. His character appears very fervent, but at the same time truly tranquil, incredibly unperturbed and really unruffled, which merges very well with the character of an educationalist that he illustrates. A freedom fighter with these attributes hasn't been presented in a motion picture before. Abhishek gets to the character a certain authority. The rebelliousness and boisterousness are depicted to perfection.

Deepika sheds her glam look and looks every bit the character she illustrates. Kudos to her first of all for accepting a challenging role [of a woman revolutionary of the 1930s] so early in her career and then almost living that character in the film, continuing to prove her mettle far ahead of her poise and exquisiteness.

Sikander Kher leaves a terrific impression. He excels in several scenes. Vishakha Singh is a complete natural. She catches one's attention instantly. Samrat Mukerji, Maninder and Feroz Wahid Khan, each actor is earnest and sincere to the core. In fact, every actor in the film looks most convincing in their respective parts. I would like to make a special mention of the young artists [most of them seem like first-time performers], who have a very unpolluted/uninfluenced approach to acting. Brownie points to each one of them.

On the whole, KHELEIN HUM JEE JAAN SEY, based on the Chittagong rebellion, is an enlightening experience of a poignant, but little-known chapter in history. It's a film of immense significance which evokes a colossal patriotic fervor. A motion picture like KHELEIN HUM JEE JAAN SEY isn't created targeting the box-office solely. It's also made for the gratification of the senses. And that it does in sufficient measure. In an industry obsessed by opening weekend business and box-office records, this is one of those rare films that doesn't compromise on its gracious objectives for the sake of becoming more box-office friendly. At the same time, a film like KHELEIN HUM JEE JAAN SEY, although very well made, may not appeal to those who relish the customary kitsch and masala. Therefore, the film will have to rely on a very strong word of mouth to create any kind of an impression or impact at the box-office.

Download Khelein Hum Jee Jaan Sey MP3 Songs
01 - Khelein Hum Jee Jaan Sey - Yeh Des Hai Mera@review-of-movies.blogspot.com
02 - Khelein Hum Jee Jaan Sey - Naiyn Tere@review-of-movies.blogspot.com
03 - Khelein Hum Jee Jaan Sey - Khelein Hum Jee Jaan Sey@review-of-movies.blogspot.com
04 - Khelein Hum Jee Jaan Sey - Sapne Saloney Hai Sach@review-of-movies.blogspot.com
05 - Khelein Hum Jee Jaan Sey - Vande Mataram (Revised Sanskrit To Hindi)@review-of-movies.blogspot.com
06 - Khelein Hum Jee Jaan Sey - Long Live Chittagong@review-of-movies.blogspot.com
07 - Khelein Hum Jee Jaan Sey - The Teenagers Whistle@review-of-movies.blogspot.com
08 - Khelein Hum Jee Jaan Sey - Surjya's Sorrow@review-of-movies.blogspot.com
09 - Khelein Hum Jee Jaan Sey - Vande Mataram@review-of-movies.blogspot.com
10 - Khelein Hum Jee Jaan Sey - The Escape@review-of-movies.blogspot.com
11 - Khelein Hum Jee Jaan Sey - Naiyn Tere (Sad)@review-of-movies.blogspot.com
12 - Khelein Hum Jee Jaan Sey - Revolutionary Comrades (Soft)@review-of-movies.blogspot.com


01 - Khelein Hum Jee Jaan Sey - Yeh Des Hai Mera@review-of-movies.blogspot.com
02 - Khelein Hum Jee Jaan Sey - Naiyn Tere@review-of-movies.blogspot.com
03 - Khelein Hum Jee Jaan Sey - Khelein Hum Jee Jaan Sey@review-of-movies.blogspot.com
04 - Khelein Hum Jee Jaan Sey - Sapne Saloney Hai Sach@review-of-movies.blogspot.com
05 - Khelein Hum Jee Jaan Sey - Vande Mataram (Revised Sanskrit To Hindi)@review-of-movies.blogspot.com
06 - Khelein Hum Jee Jaan Sey - Long Live Chittagong@review-of-movies.blogspot.com
07 - Khelein Hum Jee Jaan Sey - The Teenagers Whistle@review-of-movies.blogspot.com
08 - Khelein Hum Jee Jaan Sey - Surjya's Sorrow@review-of-movies.blogspot.com
09 - Khelein Hum Jee Jaan Sey - Vande Mataram@review-of-movies.blogspot.com
10 - Khelein Hum Jee Jaan Sey - The Escape@review-of-movies.blogspot.com
11 - Khelein Hum Jee Jaan Sey - Naiyn Tere (Sad)@review-of-movies.blogspot.com
12 - Khelein Hum Jee Jaan Sey - Revolutionary Comrades (Soft)@review-of-movies.blogspot.com


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Saturday, November 27, 2010

Break Ke Baad - Movie Review

Read more! Cast :: Imran Khan , Deepika Padukone

Aditya Chopra's DILWALE DULHANIYA LE JAYENGE, Karan Johar's KUCH KUCH HOTA HAI and Farhan Akhtar's DIL CHAHTA HAI continue to inspire and motivate film-makers to this date. Danish Aslam's debut film BREAK KE BAAD borrows from the above-mentioned films, besides Imtiaz Ali's LOVE AAJ KAL and several other films churned out by Yash Raj and Dharma.

I don't think it's sacrilege to seek inspiration from a great film, a taut script or soulful music, but the storyteller ought to take that extra effort to present something more than what we've watched before, in his/her film. That's where BREAK KE BAAD fails to connect.

BREAK KE BAAD deals with space issues in a relationship, a much exploited and abused word used a lot in the present-day scenario. Space is almost like a break-up mantra and BREAK KE BAAD explores this concept rather than being a conventional love story. It has that typical Hollywood inspired urban drollness, approach and responsiveness, but what comes across on screen is a poor replication of romance-laden movies that we have enjoyed over the years.

BREAK KE BAAD goes wrong, sorry horribly wrong in its writing. The screenplay is full of glitches, the writing is juvenile, the situations are amateurish and I actually wondered how a shoddy screenplay like the one in BREAK KE BAAD was green-lit and approved in the first place. The intention was to make a cool film for the urban youth, but the writers [screenplay: Renuka Kunzru and Danish Aslam] have messed up and how!

Abhay [Imran Khan] and Aaliya [Deepika Padukone] have known each other since they were kids. Their friendship turned into love at the tender age of 15, when Abhay realized that Aaliya is the girl for him.

Aaliya's life is defined by her burning desire to become an actress and she is unmindful of what or who comes in her way. Abhay, who is still unsure about what he wants to do, finds himself competing with Aaliya's incessant plans and projects to fulfill her dreams. Things come to a head when Aaliya decides to go to Australia to study and Abhay has to deal with the prospect of a long-term relationship, secretly fearing that he will lose Aaliya forever.

They decide to give their relationship a break, so that Aaliya can pursue her dreams. As time passes by, Abhay realises his skills, while Aaliya realises that there is no joy in achieving one's dreams if one has no one to share it with.

The basic idea of BREAK KE BAAD may compel you to think that it's going to charter a new path completely, but what comes across is a sham. I mean, the lovers break up for a flimsy reason [there's no persuasive rationale actually], then become friends, then go separate ways, then become friends again, then argue animatedly and then get married. Besides, the film is talk-heavy, extremely verbose and the chatter is pointless, senseless and ludicrous.

One fails to understand why the girl drops the guy like a hot brick. Actually, there's no valid reason for her to do so. He is so committed, so devoted, so trustworthy that any girl would give her left arm to be with him. But the girl comes across as a no-brainer and expectedly, realizes her folly only towards the finale [as expected in a screenplay of convenience]. Besides a faulty screenplay, even the supporting characters [Sharmila Tagore, Shahana Goswami] are wasted.

Director Danish Aslam has handled a few moments well, that's it. A love story ought to be embellished with a lilting musical score, but Vishal-Shekhar disappoint this time. The songs are strictly okay and one misses that winning track that makes a love story memorable. Cinematography [Andre Menezes] is alright.

Both Imran and Deepika take a step forward as actors. Having watched Imran closely from JAANE TU YAA JAANE NA days, I feel that he has come a long way in his fifth outing and you can see a marked difference in his performance. As far as Deepika is concerned, I like the spontaneity that she brings to the character. After LOVE AAJ KAL, this is another film that will make people sit up and notice her talent. Sharmila Tagore is wasted. Ditto for Shahana Goswami. Yudhishtir Urs irritates. Lillete Dubey gets to deliver some spicy lines. Navin Nischol gets minimal scope.

On the whole, BREAK KE BAAD has a vibrant Imran and Deepika as its USP, but a faulty and an unpersuasive screenplay as is its major stumbling block. Fails to impress!

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Tuesday, November 23, 2010

No Problem - Music Review

Read more! Cast :: Anil Kapoor, Sanjay Dutt, Akshaye Khanna, Suniel Shetty, Sushmita Sen, Kangna Ranaut, Paresh Rawal, Neetu Chandra

Honestly, one isn't overtly enthusiastic about checking out what exactly does No Problem have in store. It doesn't boast of a quintessential hero-heroine fare. Also, since it is an Anees Bazmee film, it isn't meant to be relying on music as it's USP as the story telling by itself is expected to bring in the audience. Moreover, the earlier promos of the film haven't quite placed music on the forefront. Add to that the fact that three set of composers - Pritam, Sajid-Wajid and Anand Raaj Anand - come together to get the album in place means one is further apprehensive about what really is in store here.

As it turns out, the opening song No Problem doesn't quite turn out to the best attraction that the title track of a film is supposed to offer. Coming from the same school of music as the title track of Welcome, this one does have a catchy rhythm to it with Wajid, Suzzane Demello, Khurram Iqbal, Bhishak Jyoti, Kamal Khan, Suganda Mishra and Altamash Faridi teaming up behind the mike. However, it somehow ends up being 'heard today, forgotten tomorrow' kind of a track. Yes, if the film ends up doing tremendously well at the box office, this song written by Shabbir Ahmed and put to tune by Sajid-Wajid can expect a decent recall value for it. However, unless that happens, this title track would have to make way for other songs in the album.

The album picks up miraculously with the arrival of 'Shakira', a fun number where the focus is on the leading ladies (Sushmita Sen, Kangna) ending up being far more enticing in their moves when compared to none other than Shakira. While Hard Kaur kick starts the song with her rap, Master Salim and Kalpana come together to get an authentic Punjabi flavour to this Pritam composition, hence making Kumaar written 'Shakira' a definite chartbuster in the making. The song, which also has a 'remix version' for itself has a distinct Pritam stamp to it and makes one wonder that why wasn't this celebration track the first to come on air.

Energy of the album continues to be on a rise with 'Babe Di Kripa' being the next to come. This one is akin to listening to two songs with Kalpana bringing on a Western rendition while new find Vikrant Singh brings on a hardcore Punjabi element. Yet another celebration track written by Kumaar, this one is not just foot tapping but also is noticeable for the way Vikran goes about singing this one. An original voice which is not quite an imitation of any other established singer, Vikrant does quite well in 'Babe Di Kripa' which should work well, especially up North with it's 'remix version' expected to find it's way into the DJ's collection.

Surprisingly, just when No Problem was reaching its peak comes a low in the form of 'We Are Innocent' which turns out to be totally wannabe. In fact after doubly checking the credit details, you are shocked to know that the man at the helm of affairs is none other than Pritam himself. His tune sounds like belonging to the world of late 80s/early 90s when such campus tracks like these were in the vogue. A forgettable track which is sung by Suraj Jagan and written by Kumaar, it tries to be all cool and fun but falls flat.

Thankfully it is the unusual suspect Anand Raj Anand who comes to the rescue with 'Mast Punjabi', third Punjabi based track in a row after 'Shakira' and 'Babe Di Kripa'. Does it work? Oh of course yes, as it turns out to be a highly addictive celebration track that gets hooked on to you in the first listening itself. In fact hearing this song (which comes again in a 'remix' version) makes you believe that Anand Raaj Anand needs inspiration to come up with a song belonging to the chartbuster variety since 'Mast Punjabi' is definitely one instance where he has delivered well. In fact he plays a triple role of a composer, lyricist as well as singer here with company from Sunishi Chauhan.

As stated earlier, there weren't many expectations from the music of No Problem. However, it ends up throwing a pleasant surprise with three of it's songs - 'Shakira', 'Mast Punjabi' and 'Babe Di Kripa' ensuring that there are enough foot tapping elements in the album. All that the makers have to do now is get aggressive on each of these three songs. Moreover, if the film turns out to be a huge success, these songs will have a greater distance to travel for sure.

Download No Problem MP3 Songs
01 - No Problem (2010) - No Problem@review-of-movies.blogspot.com
02 - No Problem (2010) - Shakira@review-of-movies.blogspot.com
03 - No Problem (2010) - Babe Di Kripa@review-of-movies.blogspot.com
04 - No Problem (2010) - We Are Innocent@review-of-movies.blogspot.com
05 - No Problem (2010) - Mast Punjabi@review-of-movies.blogspot.com
06 - No Problem (2010) - Babe Di Kripa (Remix)@review-of-movies.blogspot.com
07 - No Problem (2010) - Shakira (Remix)@review-of-movies.blogspot.com
08 - No Problem (2010) - Mast Punjabi (Remix)@review-of-movies.blogspot.com

01 - No Problem (2010) - No Problem@review-of-movies.blogspot.com
02 - No Problem (2010) - Shakira@review-of-movies.blogspot.com
03 - No Problem (2010) - Babe Di Kripa@review-of-movies.blogspot.com
04 - No Problem (2010) - We Are Innocent@review-of-movies.blogspot.com
05 - No Problem (2010) - Mast Punjabi@review-of-movies.blogspot.com
06 - No Problem (2010) - Babe Di Kripa (Remix)@review-of-movies.blogspot.com
07 - No Problem (2010) - Shakira (Remix)@review-of-movies.blogspot.com
08 - No Problem (2010) - Mast Punjabi (Remix)@review-of-movies.blogspot.com

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Thursday, November 18, 2010

Guzaarish - Movie Review

Read more! Cast :: Hrithik Roshan & Aishwarya Rai

Bollywood appears to be inclined towards exploring rare illnesses/disorders/disabilities, with directors casting megastars in characters to raise awareness about the lesser-known ailments. In GHAJINI, Aamir Khan had short-term memory loss [Anterograde Amnesia]. In PAA, Amitabh Bachchan played a child afflicted with Progeria. In MY NAME IS KHAN, SRK was shown suffering from Asperger Syndrome. In TAARE ZAMEEN PAR, Aamir Khan portrayed problems of Dyslexic children. In BLACK, Amitabh Bachchan was shown succumbing to Alzheimer's. In KARTHIK CALLING KARTHIK, Farhan Akhtar portrayed a Schizophrenic.

This is not the first time that master film-maker Sanjay Leela Bhansali has attempted a movie that has the protagonist suffering from a serious disability. In GUZAARISH, Hrithik Roshan suffers from Paraplegia, a complete paralysis of the lower half of the body, including both legs, usually caused by damage/injury to the spinal cord.

Bhansali has always been known for two things. The first thing is, of course, the visual splendour in his films [which was quite evident in HUM DIL DE CHUKE SANAM, DEVDAS and SAAWARIYA] and the second thing that he takes inspiration from various stories. The critically acclaimed BLACK was inspired from THE MIRACLE WORKER [a 1962 film] and SAAWARIYA from 'White Nights', a Russian short story.

There's talk that GUZAARISH is a remake of Christopher Nolan's Hollywood movie THE PRESTIGE, which, let me clarify, it is not. GUZAARISH brings back memories of two films, which may be coincidental: The Spanish Oscar and Golden Globe winning film MAR ADENTRO aka THE SEA INSIDE [2004], which, in turn, was based on a real-life story of Ramon Sampedro and WHOSE LIFE IS IT ANYWAY?, a television play which was later adapted into a play [theatre] and much later into a film [1981].

Bhansali has worked himself to the grind and his presence is felt in every frame of GUZAARISH. There is an inimitable intellect that Bhansali brings to his movies. Bhansali is also known to extract the best performances from his actors. In a light-hearted vein, I would go to the extent of saying that Bhansali has the ability to make a dumb man speak and a sightless man see. His devotion and dedication towards his craft is truly inspirational and motivating. In GUZAARISH, Bhansali puts behind all the glitter and glamour and comes up with yet another unique and sensitive story told through a series of flashbacks.

Final word? GUZAARISH is special in more ways than one. In my individualistic opinion, it easily ranks amongst Bhansali's best works so far. Just don't miss this one!

Set in Goa, it tells the story of an accomplished magician Ethan Mascarenhas [Hrithik Roshan]. Ethan suffers serious injuries when one of his magical trick goes horribly wrong, turning him to a Paraplegic. Confined to a wheel chair, Ethan becomes a Radio Jockey at an FM Station called Radio Zindagi. His show talks of hope, laughter and sunshine and it's difficult to imagine that the man behind it has been immobilized with a spinal injury for the last fourteen years of his life. Sofia [Aishwarya Rai Bachchan], a nurse, takes good care of him; they share a silent love.

Ethan files a petition in court for mercy killing. This decision of Ethan leaves Sofia stunned. Ethan takes the help of friend-lawyer Devyani [Shernaz Patel] to support his appeal. Even Ethan's mother Isabel [Nafisa Ali] supports him in his petition, although Ethan is persuaded by his physician Dr. Nayak [Suhel Seth] to retract his case. Alongside all this, Omar [Aditya Roy Kapur] enters Ethan's life with the aim of learning magic from him. Impressed by Omar's love for magic, Ethan agrees to pass on his legacy to him.

Only a sensitive raconteur can do absolute justice to a challenging subject like the one in GUZAARISH and Bhansali seems the right candidate for an extremely tricky theme like mercy killing/Euthanasia. The story is complex and can only be narrated by a storyteller who has the art of telling stories most convincingly. Sure, the protagonist in GUZAARISH wants to end his existence, but that doesn't mean the film is disheartening or unsettling. Clearly, the writing [screenplay: Bhavani Iyer and Bhansali] is smart, taut and absorbing.

GUZAARISH has a number of sequences that bear the unmistakable stamp of a genius. Sample these?

  • The courtroom sequence and Aishwarya's outburst towards the end of it.
  • The hearing of the petition at Hrithik's house.
  • Hrithik's act going wrong and the near-fatal accident.
  • The finale.

Any negatives? The generous usage of English in the narrative. The language is sure to act as a barrier in the hinterland specially. Agreed, the film is set in Goa, they are bound to speak that language, but despite everything, Hindi is a must for a pan-India appeal.

Irrespective of how his films fare at the box-office, Bhansali's films have always been embellished with rich and cherished music. The songs continue to linger in the hearts of the listeners with their dulcet and soothing tunes. After legendary Satyajit Ray and Vishal Bhardwaj, Bhansali is the next accomplished film-maker who has himself created the music of his film. The songs in GUZAARISH are more inclined towards poetry that's earthy and contemporary. However, it does take some time for the listeners to sense the pulse of the music. 'Tera Zikr Hai Ya Itra Hai' is a limerick to exquisiteness, 'Sau Gram Zindagi', with its philosophical tone, leaves a lasting impression, the title track 'Guzaarish' casts a spell on you and 'Udi' is, of course, memorable.

GUZAARISH has been magnificently shot. The indoors as well as outdoors [the gorgeous panorama] add so much to the film. There's no refuting that cinematographer Sudeep K. Chatterjee has created some really alluring and enthralling visuals. The very effective and subtle background score [Tubby and Parik] of GUZAARISH is its very backbone. The feelings of intrigue, anxiety, anguish and romance come across so well. In fact, for the very first time, I felt that I was not hearing the background score, I was feeling it. Dialogue [Bhavani Iyer and Vibhu Puri] belong to high standards that touch your soul. Costumes [Sabyasachi] are absolutely wonderful; they gel well with the setting and mood of the film.

Hrithik and Aishwarya are seen in a lackluster facade and that's what makes the characters so plausible. While Hrithik is seen sporting a beard and has even put on weight, Aishwarya is seen in sober outfits. In fact, the two actors have gone through a drastic appearance change and both pressurize you to believe that they are indeed Ethan and Sofia. It must be said that Hrithik and Aishwarya exude a certain dignity and elegance, much needed for a sensitive film of this magnitude and caliber.

It must have been an arduous task for Hrithik to carry off the Paraplegic character of Ethan Mascarenhas, but he depicts the part with flourish. It's a great risk in filmy norms to have the hero of the film almost entirely on a wheel chair, but Hrithik has never hesitated or been irresolute in putting himself to adverse conditions, in order to achieve excellence, in whatever character he chooses to depict. Kudos to Hrithik for accepting a role that's truly opposite to his larger-than-life image and portraying it with elan.

Aishwarya, as Ethan's nurse who is the epicenter of his world, has approached this role with rare understanding, not going overboard even once. So effective is she that she not only influences you but also compels you to believe that their love is solid in its quiet strength and also spirited in their verbal sparring. The sensational chemistry, which sizzled the silver screen in DHOOM 2 and JODHAA AKBAR and won hearts all over, sizzles yet again, but this time in a distinctive aspect.

Aditya Roy Kapur is truly outstanding in a pivotal character. Shernaz Patel is exceptional. Nafisa Ali makes her presence felt in a small but significant role. Suhel Seth is in terrific form. Moni Kangana Dutta is okay. Vijay Crishna [judge] is effective. Rajit Kapoor does complete justice to his role. Makarand Deshpande leaves an impression. Ash Chandler and Achint Kaur lend good support.

On the whole, GUZAARISH is an invigorating tale. Bhansali, as a film-maker, has scaled several notches above his past accomplishments to create a near-perfect cinematic experience. The highpoint of the motion picture is the magnificently penned story of an incapacitated and debilitated man who desires to end his being with dignity. The film sedu.ces the viewer with a strong emotional quotient, soulful music and of course, the crackling and wonderful onscreen chemistry between Hrithik and Aishwarya. Without doubt, GUZAARISH is one of the most profound, insightful and enriching dramas of the year.

Download Guzaarish MP3 Songs
01 - Guzaarish@review-of-movies.blogspot.com
02 - Sau Gram Zindagi@review-of-movies.blogspot.com
03 - Tera Zikr@review-of-movies.blogspot.com
04 - Saiba@review-of-movies.blogspot.com
05 - Jaane Kiske Khwaab@review-of-movies.blogspot.com
06 - Udi@review-of-movies.blogspot.com
07 - Keh Na Saku@review-of-movies.blogspot.com
08 - Chaand Ki Katori@review-of-movies.blogspot.com
09 - Daayein Baayein@review-of-movies.blogspot.com
10 - Dhundhli Dhundhli@review-of-movies.blogspot.com

01 - Guzaarish@review-of-movies.blogspot.com
02 - Sau Gram Zindagi@review-of-movies.blogspot.com
03 - Tera Zikr@review-of-movies.blogspot.com
04 - Saiba@review-of-movies.blogspot.com
05 - Jaane Kiske Khwaab@review-of-movies.blogspot.com
06 - Udi@review-of-movies.blogspot.com
07 - Keh Na Saku@review-of-movies.blogspot.com
08 - Chaand Ki Katori@review-of-movies.blogspot.com
09 - Daayein Baayein@review-of-movies.blogspot.com
10 - Dhundhli Dhundhli@review-of-movies.blogspot.com

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Sunday, November 14, 2010

Tees Maar Khan - Music Review

Read more! Cast :: Akshay Kumar, Katrina Kaif & Akshaye Khanna

Can you make a wild guess that which film was most expected this year as well in music? The Answer is “TEES MAAR KHAN” and if you ask the reason, that is - “Farah Khan-Vishal-Shekhar” Trio. Om SHANTI OM was the blockbuster of all time and the same in music. 'Dard-E-Disco', 'Ajab Si' were the masterpieces of their time. So anyone would expect awesome compositions from TEES MAAR KHAN. And anyway, the production house has already created havoc propaganda for the music of the film. They are still claiming “SHEILA KI JAWANI” the item song of the year, two greatest enemies in the song “WALLAH RE WALLAH” & they have already telecast-ed the title track and we have also loved it.

You will hear the most strange voice making the introduction of the song. Then side vocals arrive saying “Abhi Abhi Mili Khabar Ke Anusaar...”. Then the man Sonu Nigam starts to sing the most 'Crooky' song of the year “TEES MAAR KHAN”. Picturised on the full cast of the movie, the title track is impressive enough to top the charts soon. A damn confident dialog in vocal of Akshay Kumar himself adds charm to the song. Then unnecassary “Mai Baap” type of screams arrive & from then, the charm stars to lose and slowly, the song begins to change track and at last with some dhols, trumpets and “Tees Maar Khan” screams playing in the background, the song finally comes to an end. The most best part of the song was the theme music playing in the background which reminds us of some 70's or 80's movies that were based on robbery and criminals. Allover, a title track can't be better than this.

Remember Chhaliya? The heroine in mini dresses flaunting to raise your temperature. The introduction by a Harmonium already starts to groove you to the rhythm and later, drums and thumps unitedly will make you sweep you off your feat. This most-promised, various times claimed as the best item song of the season can't make you sit still in your chair. One of the most groovy item numbers of all time, “SHEILA KI JAWANI” is sure to create a sensation in no time. Superly sung by Sunidhi Chauhan, the song impresses you by the passion, maturity & temptation within it. Timely vocals(mostly Qawali) by Vishal Dadlani also create a great appeal. As a furious feminine track, this one's gonna stay and gonna stay for a long period and believe me, This Song's “Too Sexy For You”.

Rocking Qawali is nothing new today. But the sensations gonna arrive when Salman 'DABANGG' Khan, Katrina 'SHEILA' Kaif & Akshay 'Tees Maar Khan' Kumar come together to shake you heads by Qawali. If you deduct extra beat, then “WALLAH RE WALLAH” is totally a Qawali that has every sign to be a authentic one. Some artificiality has been added by the composer thinking about the listeners but they didn't need to do that. Some not-so-shiny voices like Kamal Khan, Shekhar Ravijani, Raja Hassan along with Shreya Ghoshal set the floor on fire this time unitedly. You are sure gonna see some college gores shaking their booty to this song competing with the stars on-screen. You have to come to the decision that Vishal-Shekhar delivers variety with quality.

Make way for the fourth track of the album which is entitled “BADE DILWALA” and is sung by Sukhwinder Singh along with Shreya Ghoshal. We Have heard this particular theme based song previously which is none other than “HUD HUD DABANGG”. But this one does not make such an appeal. The song does make a good effort by different & fresh lyrics by Anvita Dutt Guptan but loses tempo as it follows. Allover, this heroic number's a decent listen.

Make way for the whole team of vocalist coming from Television. Prajakta Shukre, obtained 4th place in Indian Idol Season 1(Sony); Abhijeet Sawant, Winner of Indian Idol Season 1(Sony); Harshit Saxena, Runner-up of Amul Star Voice Of India(Star Plus) & Debojit, Winner Of Zee Sa Re Ga Ma Pa Challenge 2005(Zee TV) – these four most-talented champs come together for the final track of the album “HAPPY ENDING”. Recently, we have listened “Apna Har Din” from Golmaal 3 which one was almost same like “Happy Ending”. A Free-spirited, happily lyricised by Anivita Dutt & sportingly composed by Vishal-Shekhar, “Happy Ending” surely makes an happy ending for this gonna-be-a-superhit music album.


TEES MAAR KHAN is the specific type of album which consists versatile type of tracks. Where you shake your booty with tracks like “SHEILA KI JAWANI”, “WALLAH RE WALLAH”, you can nod your heads with “HAPPY ENDING” and sing along the “TEES MAAR KHAN” way. With such reputation, expectations & big-budget, the music is appropriate and respectable, but one or two tracks more would have been more sufficient or we should say satisfying. Even with a bit displeased heart, every listener will move their body to the numbers. TEES MAAR KHAN is completely unemotional and fun-loving album in every means that doesn't have a single boring second to make you yawn. So, start pleasing yourselves by listening to the groovy songs of this big-budgeted, most-expected & most-promising movie that is to make arrival at the final moment of this year.


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Posted by review-of-movies at 2:22 AM 0 comments
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