Wednesday, January 28, 2009

42 Kms. Music Review

42 Kms. Music Review






Powered by: Chakpak.com 42 Kms


In the ever-growing and fast-changing Bollywood musical world, 42 KMS, a low profile social entertainer brings out the likes of new composer Tubby & Parik, arranger turned composers to the marquee. After the supreme disaster of MEERABAI NOT OUT, it's another entertaining sport-filled dossier from Mandira Bedi, where she leads the show as the lead protagonist.

Ironically speaking, 42 KMS is hitting stands and theatres when Mumbai is healing fast from 26/11 attack with the advent of ''Mumbai Marathon 2009''. Despite its zilch expectations and low profile face value, it has the stuffing of bankable singers like Sonu Nigam, Shaan, Shreya Ghoshal, Sunidhi Chauhan, Mahalxmi Iyer, Roop Kumar Rathod and Udit Narayan in its modest packaging of 6 original soundtracks. After the much-deserved success of Amit Trivedi (DEV D), can Tubby & Parikh be second probable new entrants in Bollywood? Does 42 KMS have the sufficient bag and baggage to deliver for its prospective multiplex listeners? Let's find this out...!

CHECK OUT: 42 KMS Movie Preview

Tubby-Parik make dazzling opening of the album by pulverizing out Indonesian style of rock-music in the theme-spirited motivational soundtrack ''Chand Zameen Par''. KK's racy vocals are at scorching pace with composition that sounds similar to chartbusting hit track ''Kya Mujhe Pyar Hai'' (WOH LAMHE). It tries to create the inspirational hysteria of another KK resounding number ''Aashiyan'' (IQBAL) but sounds too jarring and ear-splitting as it gushes down fiercely to its last beats. Tubby & Parik have done an overdo of rollicking rock-music substance with loads of ear-splitting percussion and racing guitar strumming. Rags and Clinton prove valued support as back-up vocals but Shahab Allahabadi's wordings aren't gripping enough to make thing work for this inspirational sounding soundtrack.

Upbeat sounds and hip-hop rhythms makes top slot again and the mood-swinging fervor takes the floors on fire in impressive sounding ''Zara Aankhon Mein''. Sonu Nigam experiments out in the caricature of hip-hop singer with his flickering cum quivering voice modulations. Gayatri Ganjawala makes delayed entry in her piercing rendition but its hip-hop emceeing (un-credited) that strikes chord with the feel of this racy soundtrack makes it an affable sounding hip-hop track. Tubby-Parik melodic inputs have remarkable trendy zooming arrangements that bring memories of super-hit hip-hop number ''Ek Main Aur Ek Tu Hai'' (BLUFFMASTER). Sonu Nigam makes another fervent presence as dependable vocalist and gives out the only hope for this album in this soundtrack.

As predicted, this soundtrack gets the preferred treatment as it gets flavor of ''club'' remixing in the only remix number of the album. ''Zara Ankhon Me (remix)'' punches hard with its stridently loud disco-beat fillers that is supported well with thunderous DJ bangs and claps to create passionate feel for the disco-freaks on dancing floors.

Roop Kumar Rathod's sublime and submissive soothing voice changes the mood with flavors of traditional ''ghazal-gayaki'' singing in modestly penned and composed ''Ae Meri Zindagi''. Despite sincere efforts, the outmoded melodic substance of traditional instrumentals and ordinary wordings fails to deliver out the needful that could make this another impressive attribute for Roop Kumar Rathod's prowess. Mahalaxmi Iyer's subtleness is added support that flows in tandem but fails to embark any nostalgia into the tonality of the soundtrack.

CHECK OUT: Mandira Bedi slaps her husband...!

Boredom enters into a new phase in the lackluster sounding ''Tumse Milke Hua'' where bankable singers like Shaan and Sunidhi Chauhan sound completely wasted. Tubby-Parik makes an apology of composition with drooping arrangements and passable lyrics that ends up making up this a forgettable affair. Skip it!

Tubby-Parik go decades back and try to impersonate out 80's type of ''jhankaar-beats'' stylized love duet in unimposing ''Aate Jaae Mausam Se''. Udit Narayan's contemporary voice and Shreya Ghoshal sweetly timed vocals are at the helm of affairs to make credits look promising but the expectations dashes to doom in its unimpressive composition. It's a final nail in the coffin that sums up the disastrous musical show of this unassuming album.

42 KMS fails to even conquer 1 KM of success with the soundtracks that sounds average to ordinary and fall flat before it could inspire to rise. Tubby & Parik prove to be weak in their efforts and their music never props to deliver the desired musical flavors of our times. The sole exception of ''Zara Aankhon Me'' (above-average) makes things brighter but falls much short of being classified as ''chartbusting'' material. Low profile, bleak face value and now shoddy musical presentation makes this a ''non-starter'' material that will faint out in its initial run at the stands.

Jugaad Music Review

Jugaad Music Review




Director Anand Kumar, who hails from Delhi, comes up with a very interesting plot woven around the time of the infamous sealing drive in New Delhi, during which thousands of Delhites were affected when their houses and shops were sealed by the municipal corporation. And how those with good connections were able to escape through make shift arrangements/manipulations or 'jugaad' (hence the title), as it?s called in Hindi colloquial language in Western UP and Delhi. Serious actor Manoj Bajpai returns after a while in this situational comic-cum -thriller. The responsibility for the music department rests on the young shoulders of the immensely talented Sachin Gupta, who had shown enough potential in the melodious DIL KABADDI and is helped in his endeavour by the versatile Krishna. So, let?s see if Sachin Gupta is able to prove that DIL KABADDI was not just a flash in the pan.

After Salim -Sulaiman's "Tujhme Rab Dikhta Hai", we have Krishna with "Tu Hai Rab Mera'. Nice flute notes and light alaaps along with soft female English croonings commence the superbly, composed number. A delightful culmination of semi-classical, sufi and western, the song is a gem which needs to be heard by all lovers of pure blissful music, that is a fusion and retro mix at its best. The classical parts are not overdone and its blending with the western musical instruments is smooth and transgresses all boundaries between East and West. The tune though sounds familiar at times, and flashes of Ghulam Ali's superlative 'ghazal' "Yeh Baatein Jhoothi Baatein Hain" comes to mind, though it can just be a co-incidence as the raaga may be the same here. Krishna is a revelation as he skillfully masters the difficult high pitches and is a delight in the lower octaves as well. The lyrics are a lovely combination of easy to understand Punjabi, Urdu and Hindi and pay an ultimate tribute to the beloved. The number will appeal to all romantics at heart and those with an understanding of semi-classical and sufi and can be a good way to propose your beloved this Valentine!

After an outstanding romantic track, we have Adeel, "With the soul stirring "Kise Awaaz Doon", a number which has sheer melody at its base, albeit nothing extraordinary but nevertheless it is ear pleasing. Adeel is a promising artist from Pakistan who has shown great vocal effects in Pritam's KISMAT KONNECTION ("Move Your Body"). Some great electronic flute and bead sounds commence this sad number which will definitely make a mark with the listeners. The meticulous musical arrangements are in sync with the sense of deja vu and melancholic feel of the lead protagonist. Adeel's vocals are strong yet soft and sonorous and convey the right emotions without going overboard. The lyrics, though filmy, strike a chord and the feeling of helplessness, dejection and loneliness is brought to fore by some nice words. "Apni tanhahiyon mein koi saaya bhi nahin, Koi apna bhi nahin, Koi paraya bhi nahin, Kise awaaz doon." Nice number which grows after repeated hearing.

(While on Adeel and his number "Kise Awaaz doon", an expensive music video was to be shot with the handsome artist and was to be used as a promotional music video for the film, but had to be scrapped due to the tragic 26/11 incident. Adeel himself is very upset with the turn of events but understands the situation.)

The pulsating remix caters to the Gen X and it is fit for the clubs and discos but thankfully the tempo is not heightened and the soft lingering melody is left untouched.

Neeraj Shridhar comes out of Pritam's larger than life item numbers and is at once back to his winning ways in this zestful, humour laden, situational composition "Tension Lene Ka Nahin Dene Ka". The instantly catchy rhythm catches one off guard. The song could easily have been titled "Jugaad" as the word is interposed in between, countless times and in fact the whole song in a way embodies the mood and flavour of the movie. The song should be used as a background score in the film during dramatic and comic moments. The racy beat of the number is striking and the lyrics are humorous and they entertain to the core. Easily one of the best songs of the album, if well publicized has the capability to hit the charts due to its snazzy rhythm.

Lovely guitar beats (one thought it was the beginning of a romantic number) herald the rock mix of "Tension Lene Ka Nahin Dene Ka" and the number is converted into a soft rock ballad with lots of heavy drumming, guitaring in the background. The lead singer Aditya Jassi tries his best but is no match to Neeraj Shridhar's enticing vocals which are delightful in the original version. The music director Sachin Gupta puts in extra efforts to make this number a worthwhile experience for the listeners.

Mika Singh is turning out to be the number one item singer in Bollywood and along with Richa Sharma (more known for her folk songs) effortlessly belts out "Tabahi Tabahi", a strictly average item number. The song is supposed to be a raunchy item number but the very pedestrian tune at its baseline as well as its lyrics which are at times crude and crass, (though in Urdu) are its major letdowns. The 'qawwali' touch given to the 'antara' too is very routine and looks like it?s a number meant especially for the front benchers. The song is a big letdown especially after some lovely songs that we encountered in this album. A pure waste of talented singers like Mika and Richa and since this film is based in Delhi, one would have preferred a bombastic "bhangra' pop type dance number that would have found favour with the front benchers rather than going in for a moth laden item number.

Krishna returns once again in the heart touching composition "Mushkil Halaton Se Darna Kaisa". The number is strictly situational but conveys an outstanding message of never giving up and fighting in the face of hurdles and difficulties. The 'antara' has been given a nice, rhythmic 'qawwali' touch and Krishna excels in a composition which is his forte. The lyrics are at times dramatic but that is in demand with the script as the film is about a millionaire who has lost everything and it?s his fight to save his life and live with dignity.

Reverberating Shankh (conch shell) sounds and soothing sitar beats commence the devotional track "Jai Sai Ram" which brings the album to a beautiful, soulful end. A unique combination of 'bhajan' and 'sufi' devotional touch makes the composition more than an average prayer song and a lot of credit goes to this unique culmination of 'bhajan' and 'sufi'. The music arrangements are kept minimal with lovely sitar/veena and soft percussions sounds which convey the blissful feeling of being able to communicate with the Lord. The vocals of the lead singer are enhanced as a result of this minimal music in the background and his pleading with the Almighty to return his beloved is touching. The lyrics too are a combo of bhajan and sufi and so will have an universal appeal. Krishna does a mighty good job in keeping with the strictures of a devotional number and yet making it more interesting and less mundane.

On the whole, the album is definitely a good one with outstanding track in the form of "Tu Hai Rab Mera", a chartbuster in Neeraj's "Tension Lene Ka Nahin Dene Ka", the haunting "Kise Awaaz Doon" and of course the devotional tracks. However, the commercial viability of the product will definitely rest on its promotion, which is at present very weak and in this age of blitzkrieg publicity it appears that this album may go unnoticed until and unless the makers sit up and take action.


Delhi 6 Music Review

  • Director : Rakeysh Omprakash Mehra
  • Music : A R Rahman
  • Lyrics : Prasoon Joshi
  • Starring : Rakeysh Omprakash Mehra, Abhishek Bachchan, Sonam Kapoor, Atul Kulkarni, Divya Dutta, Om Puri, Rishi Kapoor and Waheeda Rehman
  • Rating - 4/5
Delhi 6 Music Review



Year 2009 has opened up magnanimously for maestro A R Rahman and expectations are humongous as the stage is all set for his first major Bollywood musical release- DELHI-6. It brings out another colossal combination for UTV, director Rakeysh Omprakash Mehra and lyricist Prasoon Joshi, the team that created history with the critically acclaimed RANG DE BASANTI.

DELHI-6 holds another major significance in Bollywood as Rahman experiments out with ?Continuum Fingerboard? (a three dimensional music controller device) for the first time in many of his compositions for a contemporary Hindi film. Once again, the challenges are big and the feel is innovative as varied genres, styles and talents concoct again to create another hullabaloo of success. Does DELHI-6 have the sufficient fire to match up the high standards of RANG DE BASANTI and the internationally acclaimed SLUMDOG MILLIONAIRE? Will DELHI-6 be adding up as another proud entry in the long listing of A R Rahman's successive grand successes? Let's get started with the tracks that deserve to be analyzed with full exactitude...!


After serenading out some tantalizing soft-rock ballads, Mohit Chauhan streams out in typical ''filmi'' overtones with wavering vocal modulations in ''ched-chad'' solo track ''Masakalli''. Prasoon Joshi's mischievously flowing wordings (''Zara pankh jhatak, gayi dhool atak aur lachak machak ke door bhatak...) about lovable bird (''Masakalli'') has that poetical ire (''Ghar tera saloni, badal ki colony, Dikhlade thenga in sabko jo udna na jaane...'') that epitomizes naivety, impishness in that gullible ''child-like'' character. A R Rahman's music tries to be edgy rather than syrupy in those modulating instrumental connotations that strikes rhythmical chemistry with Mohit's cheeky vocals. ''Masakalli'' is going to be raised up in volumes as well as in chartbusting listing for its rustic rawness and innovative feel and probably be catching fast for its massy appeal. Mohit Chauhan notches up his first major solo hit of this year with ''Masakalli'' and that also brings laurels to the poetical prowess of Prasoon Joshi. Chartbuster!!!

A R Rahman, a name synonymous to wide range of experimentation makes the most purist attempt at Indian classical music of our times in meticulously composed ''Bhor Bhaye''. This classically pristine number brings the most intellectual singing aspect of Shreya Ghoshal, where she almost gets tutelage as well as consistent backing of puritans like Ustad Bade Ghulam Ali Khan in its traditionalist rendition.

Amitabh Bachchan's poetical exuberance in softer notes have the austerity and grace that epitomizes the ''emotional quotient'' (EQ) of the flick in concise but impressive ''Noor''.


The divine intervention of spiritualism comes in the form of ''Aarti (Tumre Bhavan Mein)'', a modestly pleasant ''bhajan'' in the voices of Rekha Bharadwaj, Kishori Gowariker, Shraddha Pandit and Sujata Majumdar. It can be termed as simplistically softer version of emotionally enriched ''O Palanhaare'' (LAGAAN) with traditional religious verses emoted out with serenity of pious sentiments.

Rekha Bharadwaj's folksy nasal twang leads the female bandwagon of traditional ''ladies-sangeet'' where typical ''Delhi-waala'' pre-marriage celebrations takes routes of ''disco-beat'' lounges in ''Genda Phool''. It charters the traditionalism of festivity where the pairing of Shraddha Pandit and Sujata Majumdar forms effective choir singers in this sluggish ''dhin-chak'' beats arrangement soundtrack.


There was ''dreams-unlimited'' euphoric feel in the subtle orchestrations in ''Tu Bin Bataye'' (RANG DE BASANTI) that captured the unveiled mysticism of undying romance in it. This nostalgia of tender emotions regenerates back in similar sounding sappy composition ''Dil Mera Giraftan'' with better sounding techno-generated sound effects that brings gifted vocals of Ash King along with back-up support of Chinmaye to the fore. Rahman's makes it a remarkable conglomerate of varied instrumentals (flute, keyboards, violin and piano) that are mellifluously interwoven in those tender beats and rhythmical beat flows. Ash King proves to be the ''find'' of the album for his sonorously porous vocals permeates subtly in those feather-touch lingering orchestral displays. Soulful!!!

Murky, mischievous and Machiavellian! A R Rahman's races out Afro-American hip-hop blasting beat-culture bombastic splurge in gibberish overtones of roguish wording in ''Hey Kala Bandar''. It sounds almost sequel to recently heard ''Shanno Shanno'' (YUVVRAAJ) where youthful spirits gets loud eruption of ''black humor'' in the vocals of Karthik, Naresh, Srinivas and Bony Chakravarthy. Prasoon Joshi's picks up snazzy one-liners in those Arabic-hip hop rhythmical beat patterns to make it impulsively bouncy soundtrack.



Somber tonality of supple jazz cum blues musical maneuvers takes over where Rahman along with Benny Dayal and Tanvi emotes out in lower octaves in impressive sounding ''Rehna Tu''. It's has that melodramatic situational song appeal with a strong international musical substance that transcends well from thumping beats in its prelude to oozing ''jazz'' substances in its concluding verses. It adds one more attribute in this soft-sentimental moods cadre that will be likely to be sapped by its potential listeners.

''Delhi-6'', the ''funk-a-licious'' title track forms a mix and match of ''Paathshala'' and ''Roobaro'' (RANG DE BASANTI) with that extra perky ''reggae ton'' rendition in its racy flows. Blaaze along with Benny Dayal, Vivinenne Pocha, Tanvi and Claire gets boisterously persuasive in symbolizing out the ''Delhi'' yuppie feel. Vivinenne and Claire lyrics try to be equivocal in its wishy-washy flows with infectious hip-hop cum reggae getting up straight into senses.

It's was divine bliss to hear something as pious as ''Piya Haji Ali'' (FIZA) and ''Khwaja Mere Khwaja'' (JODHA AKBAR) and again A R Rahman scores pure gold as he continues to be generously mellifluous in ''Arziyaan''. Despite some traditional classical instrumentals and composition there are added synchronized arrangements (preferably with support of ''Continuum Fingerboard'') that permeates well in its rhythmic flows. This holy musical piece comes in traditional ''qawalli'' form with Javed Ali and Kailash Kher excelling out with another gem of wordings by wordsmith Prasoon Joshi. Despite its longer duration (8.42), there is an ambience of divinity in the air as sounds of harmonium, tabla and sitar collages well in its well synchronized rigorous claps. Rhythm-divine!!!



DELHI-6 turns to be another globe-trotter for A R Rahman and the album surely heads for another big victory at the stands. It maintains the high-standards of RANG DE BASANTI and scores better in terms of versatility and upbeat musical substance. Mohit Chauhan's ''Masakalli'' leads the show with sure-shot chartbuster while tracks like ''Arziyan'', ''Dil Mera Giraftan'', ''Rehna Tu'', ''Hey Kala Bandar'', ''Genda Phool'' and ''Delhi-6'' will be catching up fast with three listeners. After the global success of SLUMDOG MILLIONAIRE, the celebrations continues for all ''Rahmaniacs'' with DELHI-6 and things look brighter as flick get set for its big D-Day in coming weekends

Raaz The Mystery Continues Movie Review


Powered by: Chakpak.com Raaz



Raaz The Mystery Continues Movie Review
  • Director : Mohit Suri
  • Music : Sharib and Toshi, Raju Singh, Pranay M Rijia, Gourov Dasgupta
  • Lyrics : Sayeed Quadri, Kumaar
  • Starring : Mohit Suri,Sharib and Toshi, Raju Singh, Pranay M Rijia, Gourov Dasgupta, Sayeed Quadri, Kumaar, Emraan Hashmi, Adhyayan Suman and Kangna Ranaut
  • Rating - 1/5


There is no Raaz in this film. There is not story in this film either. And there are just two scenes that jolt you. Also, there are only two performers. One is Kangana Ranaut and the other, Adhayan Suman. The lad has improved after his HAAL-E-DIL disaster.

In the first few opening shots, we are treated to Kangana walking the ramp. You ask yourself, is this Fashion Part II. It could jolly well have been.
From the mundane, Mohit Suri movies, to the insane as he tries to plot a horror flick around the lives of Kangana and Adhayan. He also throws in Emran Hashmi, Vishesh Film's lucky mascot, for some added spice but it turns out to be the biggest disaster. He is greeted by laughter from the audience. From then on, the film moves downhill all the way, as Mohit tries to clutch at the straws to cling to whatever is left to make sense. But by then, the audience is already jittery; they know they have wasted their bucks.

You leave the theatre wondering what the mystery was all about!

Mere Khwabon Mein Jo Aaye Movie Preview



Mere Khwabon Mein Jo Aaye Movie Preview

  • Director : Madhureeta Anand
  • Music : Lalit Pandit, Siddharath Coutto
  • Lyrics : Javed Akhtar, Renuka Kunzru and Rohit Bhatia
  • Starring : Madhureeta Anand,Lalit Pandit, Siddharath Coutto,Javed Akhtar, Renuka Kunzru and Rohit Bhatia , Randeep Hooda, Raima Sen, Arbaaz Khan, Suhasini Mulay and Anjan Srivastava
  • Rating -3/5




There were sweetly charmed ''girly'' dreams in the melody ''Mere Khwabon Mein Jo Aaye'' (DILWALE DULHANIYA LE JAYENGE) that set the decorum and trend for path-breaking youthful and entertaining cinema. PVR Cinemas MERE KHWABON MEIN JO AAYE talks about those ''girly'' dreams that get encapsulated in a package of Bollywood musical drama. Like its melodic subject, one can expect innovative and creative musical feel in it. Rock-music has been rage and can be termed as most sought after genre that has been fancied and materialized by every major composer. Lalit Pandit tries to surface out his grounds with this rollicking style of music and hopes for a big success. New music composer Siddharath Coutto comes out as another promising entrant who makes splashes as guest composer in couple of trendy numbers. Can MERE KHWABON MEIN JO AAYE be setting new trends for musicals in Bollywood? Does Lalit Pandit along with Siddarth Coutto be able to create magical success? Let's get started with it by switching on to ''play'' button...
As the title suggests, the flick is bound to be story about aspiring talents and their dreamland and so the first major musical punch goes out in loud vociferous binge of aspiring female vocalist in belligerently rocking ?Pahle Toh Meri Inn Ankhon''. Like ''Ye Ishq Hai'' (JAB WE MET), Shreya Ghoshal reinvents herself with peculiar variation and modulations that seems to be going perfect for ''aspirant-friendly'' emotions. Javed Akhtar's simplistic lyrics aren't that penetrative to core but it's the impressive orchestral flows in flute notes and later ''rock-music'' flows that set the mood on fire. After unnoticed ''Tere Woh Pyar'' (RU-BA-RU), this fast-paced feminine solo by Shreya Ghoshal shows her versatility and resilience of rising above the standards. ''Pahle Toh Meri Inn Ankhon'' should be going out special for all Shreya Ghoshal die-hard fans and this also marks promising start to this upbeat Bollywood musical.

''Sehmi Sehmi'', a soft mushy soundtrack about shy and demure girl brings an array of singers in the form of Shaan, Alka Yagnik, Lalit Pandit, Runa Rizvi, and Clinton Cerejo. It's welcome to hear specialist like Alka Yagnik making a ''cool'' comeback in a youthful track where Shaan leads the show. The melodic arrangements have Jatin-Lalit style of popular 90's music with suggestive feel of an angel entering the life of decorous girl. It might not be as impressive in contents as ''Pehla Nasha'' (JO JEETA WOHI SIKANDER) was in 90's but has that extra mushy feel to keep viewers on back of their seats.

Zooming and bombastic disco beat fillers marks the arrival of pompous disco-feast as mood goes full blast in the albums only remix number ''Sehmi Sehmi (''remix)''. It sounds appreciably hot from the original version for its rich peppiness and thrive that gets inundated with every upfront musical beats and thrusting rhythms.


Anushka Manchandani has surprise in store with her crooner stylized rendition in richly pulsating and strikingly western trendy rollicking soundtrack ''Kabhi Kabhi''. Experimentation goes to its full bloom with upcoming composer Siddharath Coutto getting his ethics perfect about rock-music and blues in right proportion to deliver out a racy remarkable solo track. Anushka gets into the skin of Sheryl Crow style of zany pop singing where rock music always zooms out with tinge of ''blues'', ''jazz'' or ''soul'' musical impact. Bollywood music is racing fast to genres and all complements to this upcoming composer for being innovative as well as appealing. Anushka impresses to hilt and adds herself to the cadre of singers like Alisha Chinai for her notable versatility. Renuka Kunzru's stylishly chic lyrics try to break loose and set the pulses rising up with those peppy one-liners. Excellent!!!
Siddharath Coutto maintains his pertinently striking ''rock-music'' flair in the sentimental number ''Kab Talak'', that makes Caralisa audible again as a vivacious soloist. After the soulful ''Phir Dekhiye'' (ROCK ON), Caralisa moves a step further in this ''dream-come-true'' solo number that makes remarkable maneuvers in its rock cum jazz composition. It goes out special for pulsating and comprehensive guitar strumming with its racy progressions concocting well with strident percussions. For all rock-music lovers, Siddharath Coutto delivers out a second hit in succession and all efforts seems to be going positive in making it a remarkably appealing rock number. Impressive!!!
Shaan makes author-backed presence in a track that emanates out the desolated and depressed expressions of protagonists in ''Pathraon Ke Bane In Shahron?. Lalit Pandit charters Pritam route in bringing out the flavors of tracks like ''Rishtey'' and ''Alvida'' (LIFE...IN A METRO) to fore but falls short of befitting composition to deliver the needful. Even the arrangements sounds outmoded and jaded at places and fail to usurp Shaan's penetrative vocals.

Lalit Pandit tries to add nostalgia of emotions in conventional Bollywood sensibilities par echoing impacts in sedate sounding poignant soundtrack ''Zindagi Me Nayi Bat Hone Ko''. Aishwarya does a good job with a number that has both meaningful as well as melodramatic affix in it. The loud drumming in conventional thumps at places impedes the melancholic feel but Aishwarya's voice booms well in effective echoing impacts. Javed Akhtar's lyrics are striking in its substance and get well narrated in those impressive vocals.

''Instrumental'', the finale in the form of album solitary instrumental number comes in varied tempo and textures of orchestral flows. It soothes out the flick's refreshing feel in genteel rhythms and races up in those jarring rocking percussions. Lalit Pandit signifies his masterly stroke of experienced campaigner by making it a significant background score (similar sounding to many of Karan Johar's family dramas) with fine set of musicians backing it up.

MERE KHWABON MEIN JO AAYE makes a noticeable impact with its appealing and innovative westernized fresh appeal. Old war-horse Lalit Pandit delivers some impressive number but new composer Siddarth Coutto turns to be show-stopper with two back-to-back valuable rock numbers. Despite its low profile, the album dares to experiment with numbers like ''Kabhi Kabhi'', ''Kab Talak'', ''Sehmi Sehmi'', ''Zindagi Me Nayi Bat Hone Ko'' and ''Pahle Toh Meri Inn Ankhon'' with promising success.

Slumdog Millionaire Movie Review


Powered by: Chakpak.com Slumdog Millionaire


Director : Danny Boyle
Music : A.R Rahman
Lyrics :
Raquib Alam, Gulzar, Blaaze, Wendy Parr, M.I.A., A.R. Rahman, & Tanvi
Starring :
Danny Boyle
A.R Rahman
Raquib Alam, Gulzar, Blaaze, Wendy Parr, M.I.A., A.R. Rahman, & Tanvi Shah
Anil Kapoor, Irrfan Khan, Madhur Mittal, Imran Hasnee, Dev Patel and Freida Pinto






Slumdog Millionaire Movie Review

What do you say of a movie that has won four Golden Globe Awards and is nominated in 10 categories at the Oscars? What do you say of a movie that has already wowed the critics and audience alike in the West? What do you say of a movie that has released with such rave reviews [minus doctored media hype]? Well, I just have this to say, it's a masterpiece! You don't even need a review to make up your mind to watch a 'once in a lifetime' experience in Indian cinema. Just go for SLUMDOG CROREPATI (SLUMDOG MILLIONAIRE in English).

For an Indian to watch the underbelly of poverty is just another day on the street. This is not to say that there is no poverty or crime in the West or the dirty underbelly to explore there. It's just that it's so exposed and 'in your face' here, that for us, instead of shocking, it has become a way of life. But for Danny Boyle, the director from the West, he came, he saw, he sketched and then he captured... and how! It takes a person of intense creative intelligence to do what Boyle has done.

CHECK OUT: SLUMDOG MILLIONAIRE gets 10 nominations at Oscars

Cut to cut, the film is a marvel. The shift in scenes from then to now, as Jamal Malik (Dev Patel) is on the hot seat with Anil Kapoor on the game show Kaun Banega Crorepati, is slick. The tracing of the root of every answer Jamal gives on his way to the winning jackpot is stuff of what 'genius' is all about. Jamal's nerve of not falling in Anil Kapoor's trap, gives a new meaning to the phrase 'street smart'.

Slumdog... is a movie about a boy from the slums who lands on the hot seat of the game show. The movie is told in the questions asked and the answers given by Jamal. It traces his life from childhood [his mother, his struggle to survive along with his brother, his love and his dreams], till the time he hits the jackpot

There's action, painful romance, a dash of humour, life in the slums and the underbelly of crime. Everything is neatly packaged and delivered to the viewer. Yes, some scenes are unpalatable, but then that's the reality of life. And Danny Boyle is pulling no punches... he just delivers them in style.

Dev Patel who plays the central character of Jamal is a fine actor. In fact, he overshadows Anil Kapoor and the rest of the cast. The younger actors who play Jamal and his brother Salim are simply awesome. They take you on their journey with such glee not knowing what's in store at the bend. Freida Pinto as Latika is a class act. She lets her eyes do most of the talking. Mahesh Manjrekar, Irrfan Khan and Saurabh Shukla all lend credible support. Ashutosh Lobo Gajiwala the boy who plays a slightly older Salim (Jamal's brother) is a revelation. Ditto the boy who plays the role of a slightly older Jamal.


Friday, January 23, 2009

Delhi 6 Songs



Cast: Amitabh Bachchan, Abhishek Bachchan, Sonam Kapoor, Atul Kulkarni, Divya Dutta, Om Puri, Gulshan Grover

Director: Rakeysh Omprakash Mehra

Producer: Rakeysh Omprakash Mehra, Ronnie Screwvala

Cinematography: Ravi K. Chandran

Editing: P. S. Bharti

Story Writer: Kamlesh Pandey

"Masakali" and "Dil Gira Gaftan" are superb songs..!!

Masakalli
Bhor Bhayi
Noor
Aarti (Tumhare Bhavan Mein)
Genda Phool
Dil Gira Dafatan
Hey Kaala Bandar
Rehna Tu
Dilhi 6
Arziyan

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Billu Barber



Cast: Shah Rukh Khan, Irfaan Khan, Asrani, Lara Dutta,Ompuri,Kareena Kapoor,Priyanka Chopra,Deepika Padukone

Director: Priyadarshan

Producer: Gauri Khan

Lyrics: Gulzar, Sayeed Quadri

Cinematography: M.Manikandan

Editing: Arun Kumar

Screenplay: Mushtaque Shiekh, Priyadarshan

Story Writer: Srinivasan

Action Direction: Thyagarajan

Songs are good but "Marjani", "Jaoon Kahan" are mind blowing..

Marjaani
Love Mera Hit Hit
You Get Me Rockin & Reeling
Ae Aa O
Jaoon Kahan
Billoo Bhayankar
Khudaya Khair
You Get Me Rockin & Reelin
Love Mera Hit Hit - House Mix
Marjaani - Kilogram's Balkan Mix
Khudaya Khair - Reprise
You Get Me Rockin & Reeling
Ae Aa O - Remix
Marjaani - Electro House
Love Mera Hit Hit

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Aasma Sky is the Limit



Cast: Nauheed Cyrusi, Hrishita Bhatt, Seema Biswas, Raghuveer Yadav, Sachin Khedekar, Mushtaq Khan, Aditya Lakhia,
Ravi Gosain, Sunil Rege, Khushboo Garewal, Subhashish,
Joy Sengupta, Hamid Khan, Mansi Dovhal.

Director: Rohit Nayyar

Producer: Muzikzon Entertainment

Lyrics: Shahab Allahbadi

Cinematography: Akash Deep

Editing: Kuldeep Mehan

Art Direction: Mantu Mahapatra

Screenplay: Shubh

Story Writer: Shubh

Songs are pretty good but must hear the "Ye Pal" songs its really amazing song. ;)

Ye Pal
Aasma
Man Bhawra
Chalte Rahein
Ye Pal - Remix
Aasma - Club Mix
Man Bhawra - Lounge Mix
Aasma - Sad Version

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Luck By Chance



Cast: Farhan Akthar, Konkona Sen Sharma, Dimple Kapadia, Rishi Kapoor,Cheetah Yagnesh Shetty, Saif Ali Khan, Hrithik Roshan

Producer: Farhan Akhtar, Ritesh Sidhwani, Zoya Akhtar

Director: Zoya Akhtar

Music Director: Shankar Mahadevan, Ehsaan Noorani, Loy Mendonca

Lyricist: Javed Akhtar

Cinematographer: Carlos Catalan

Editor: Anand Subaya

Art Director: Anuradha Parikh, T P Abid

Screenplay Writer: Javed Akhtar

Story: Zoya Akhtar

Choreographer: Vaibhavi Merchant, Rajiv Surti, Megha Narkar

Shankar, Eshaan, Loy has shown why the called the masters all songs are superb specially the "Sapno Se Bhare Naina"

Yeh Zindagi Bhi
Baawre
Pyaar Ki Daastan
Yeh Aaj Kiya Ho Gaya
Sapnon Se Bhare Naina
O Rahi Re
Baawre - Remix

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