He is known for his trademark style of music. He became a household name a few years back, with the soulful “Kabhi To Nazar Milao”. Since then he has brought out two more best-selling albums, cavorting with the leading actresses of Bollywood in the music videos. Lucky – No time for Love (henceforth I’ll refrain from using the byline) features Salman Khan and Aishwarya Rai look-alike Sneha Ullal in the lead, with Mithun Chakravarthy in a supporting role, and marks Adnan Sami’s debut as a music director in Bollywood.
Sami starts off with the beautifully romantic Jaan Meri Jaa Rahi Sanam. Soothing and melodious, the song beings softly with the voice of Udit Narayan. Sami uses the tabla and the flute to build up the song. The orchestration reminds you strongly of the title track of “Tera Chehra”. Anuradha Paudwal compliments Udit’s voice perfectly. Sameer’s lyrics are splendid (Kya ladakpan hai, kya jawani hai, ab tumhare naam meri zindgani hai. Kya haqeeqat hai, kya kahani hai, saamne mere meri sapnon ki rani hai). A sure chart-topper!
Sun Zara starts off with some Gregorian chant-like stuff and heavy thumping beats which makes you think as if you are listening to something out of Enigma. However, Sonu Nigam puts you at ease, and what follows is one of his best songs so far. Sonu perfectly manages to convey the anguish of separation through his voice. The solo violin piece in the background is haunting.
If you though the best was over, what follows is sheer bliss. Adnan Sami and Lata Mangeshkar work magic with Shayad Yahi To Pyar Hai – easily the best track in the album! The lyrics are once again splendid! Those who accuse Lata lately of being too shrill (including your’s truly), should listen to this track! This is the Lata we all love. Sami and Lata are exhilarating in both the high and low notes of the song. Simply marvelous!
What follows is only for Salman Khan fans. Chori Chori is not in the same league as the above mentioned threesome, but for it’s lively pace, it’s likeable chhed-chhad song. For Sonu Nigam and Alka Yagnik, it’s a routine day’s work. The chorus in the background is catchy.
Asha! Oh Asha! What would we have done without you? Lucky Lips is not a song which people would fall in love with at first hearing. But the song grows on you on further hearing. Mind you, you’ll have to ignore some lyrics if you want to listen to the song. Watch out for the excellent rendition of the antaras. Lubov Mix of ‘Sun Zara’ comes next with intermittent vocals by Adnan Sami. It is however, not the usual remix stuff you get to hear nowadays – add some beats in the background, add some illegible mumbling of English words in the name of rap and put in a ‘yo’ here and there. Sami has done a wonderful job by adding the sax and the guitar to the original.
Hum Deewane, a mediocre piece by Sonu Nigam and Anuradha Paudwal follows. There’s not much in the song to catch your attention, and it sounds just like the run-of-the-mill tracks that you come across in any Hindi movie. This one is an invitation to press the forward button. This is just a minor aberration though, as Asha is back with the Bolshoi Mix of ‘Lucky Lips’. It actually sounds better than the original, though there is no doubt that Adnan has been inspired by Robert Miles! To close off the album, Adnan gives Sonu Nigam stiff competition with his own melancholic rendition of Sun Zara.
Lucky definitely scores in melody. Salman Khan is on a high! The year 2004 saw Salman bag a big hit in Mujhse Shaadi Karogi and a Screen award nomination for best actor (Ugh!) in Garv.
Lucky could turn out to be what the doctor ordered for Salman Khan – a hit! Of course, while listening to the album some of us will have to forget that Salman Khan will be enacting out the songs on the screen! However, it would be better if Adnan Sami becomes less predictable with his songs – traces of his previous albums do creep up in various songs. Nevertheless, Lucky is certainly a good buy for lovers of romantic numbers. And for lovers of Adnan Sami’s music, it is a MUST BUY!
Sunday, March 06, 2005
Wednesday, March 02, 2005
“We came, we saw…we screwed it up”
One of the best ways of making easy money in this world is through quizzing – not to leave out the additional benefit of not having to pay tax. It wouldn’t then be very much surprising that this truth would have dawned on others too. For years, Bangalore, Chennai, Hyderabad and Calcutta have vied for the unofficial title of “The Quizzing Capital of India”. For a person who began quizzing quite late in life (during my ‘Engineering’ days), I was surprised when around 450 teams turned up for the Landmark Quiz on November 1st at the Chowdiah Hall. I had not yet witnessed the Odyssey Quiz.
I had heard of the Odyssey Quiz in the past. They advertise it as ‘The biggest Open Quiz in India’. I didn’t think much of it when it saw the mail for the 2005 edition, to be held on January 26th, the Republic Day. But then, in a weak moment, I, along with Vinay and Arindam decided to go ahead and give it a try. We were further pumped up by the fact that during the preceding weekend, we managed to qualify for the finals of the KQA monthly quiz (what happened in the final is an altogether different story).
So we ended up booking tickets to take us to Chennai. We were to return on the same day (and that too, in AC first class). I was more than happy, since the trip would give me an opportunity to indulge in a less glamorous (to the common man) and much maligned hobby – train spotting. As D-Day dawned, we reached Bangalore City station in the wee hours of the morning, (clad in the thickest jackets to beat the cold) catch the Lalbagh Express. To my disappointment, all the seats in our coach were facing away from the engine. Even though I took the window seat, it would mean that I would need to always glance backward with my SLR camera, to get a shot of any train.
Outside Bangalore, I got to see something which I’ve never bother to watch in the past one year – the sunrise. With the sun coming up, I took off my jacket to reveal the saffron-coloured kurta (with some Sanskrit inscriptions) I was wearing on that day. My teammates gaped in horror at it. Ever since the leading newspapers had carried my name on their front pages (“Ravi Subramaniam turns approver” – dated: Jan 21, 2005), they had been quite reluctant to take me along with them. However, I had paid for the tickets, leaving them with very little option.
As we pulled into Jolarpettai, I dropped a 
bombshell that one of my friends had contracted typhoid after drinking water from the station. After hearing this, Vinay went into a fast, refusing to eat anything which had “local water content” in it. We would go on to survive the journey on potato chips and biscuits. Arindam had had the common sense to bring along some sandwiches. By the time we reached Chennai Central I had managed to getaround 10 photographs of trains, much to the amusement (or was it disgust?) of my teammates.
The ride by auto rickshaw to the venue was memorable. For me, it brought back memories from the two years I had spent there. Vinay was rather impressed by the fact that we spotted at least four Honda City cars during our 15-minute drive to the venue – the great Music Academy.
Other than a few volunteers running around the place, the venue looked rather deserted. The organizers assured us of our registration. We escaped for a lavish lunch across the road. I managed to call up some of my friends and acquaintances, and also sprain my ankle quite badly - as a result of which Vinay had to abandon his ambition to visit the Landmark bookstore.
By the time we crossed the road back, the venue was an ocean of people. To make things worse, we did not have our registration number. To my utter surprise, I found that almost 900 teams had turned up! After a bit of haggling, we managed to find our team name – Norwegian Midnight (why ”Norwegian Midnight”?? beats me! Ask Vinay) scribbled somewhere in the list of registrations. We were assured of a seat!
The Music Academy is perhaps one of the oldest public halls in the city of Chennai – a place coveted by the lovers of Carnatic Music. To give a concert there is a feather in the cap of any musician. It was definitely great to be back there after four years. The hall filled up in no time. Teams had come from everywhere – Trichy, Bangalore, Mysore, Hyderabad, and even from New Delhi.
The quizmaster, Praveen Goday (Vinay found a passing resemblance of Benny Hinn in him) made a grand appearance at exactly 3:00 p.m. – on time. The questions for the prelims sounded unusually easy, compared to some of the quizzes we have attended. From the dimensions of the Indian National Flag to Amitabh Bachhan’s career as a narrator, we were quizzed on anything under (and over) the sun. Goday even had some tricks up his sleeve – at the end of question 28, from somewhere in the audience; a mobile phone started ringing. As some of the contestants wondered which idiot had forgotten to switch off his mobile phone, it turned out to be question number 29. Goday asked us to identify the composer of the piece! As the answers were being announced, we realized that missing even a single question was going to cost us a lot. The familiar oohs and aahs of the contestants could be heard everywhere. We managed to score 21 out of 35 – one more than Mrs. Gayatri, the middle-aged lady sitting behind us. We soon learnt that she and her son were the runners-up from the previous year’s edition!
The final 8 consisted of some well-known names in quizzing. QED - perhaps one of the best teams in South India - were the defending champions. Giving them company on stage were the husband and wife team from Chennai – the Jayakumars, V V Ramanan, Avinash Mudaliar, Arul Mani and our own Ramkey (“Only when we got on stage did we realize the magnitude of the quiz - when we had a look at the upper-most gallery”: says Ramkey). The quiz itself was an audio-visual treat. From Project 119 – the Chinese target to win 119 gold medals in sports they are weak in, at the 2008 Beijing Olympics, to how the Thyagaraja composition “Chakkani Raja” was used by girls in Thanjavur to communicate their preferences to prospective bridegrooms, the audience was treated to a scintillating brain-war. Time passed in a jiffy and soon, we were at the end of the day - QED had managed to hold off the challenge of the Jayakumars and Avinash, to defend their title.
As we scrambled out of the great hall and made our way to the station, Vinay remarked: “Man! It was worth coming all the way!” (A comfortable sleep in AC first class awaited us) For me, it was a trip down memory lane – to the place where I started quizzing as an amateur. We knew we never stood a chance to qualify for the finals. But still we gave it our best. And perhaps, the greatest gain from the trip was Arindam’s brain-wave, which gave us our new team name: “We came, we saw …we screwed it up.”
Monday, February 28, 2005
”Let there be light”
Black is the colour of life. Life beings in the darkness of the woman’s womb, before exploding into light. Black is also the colour of that endless eternity, which we call “space”. And as the protagonist of the movie “Black” puts it, “Black is the colour of knowledge, education and ceremonies. Like the graduation ceremony, where every student is in the black garb. And nothing is deeper and stronger than knowledge”.
Inspired from the real-life experiences of Helen Keller and her teacher Annie Sullivan, ‘Black’ details the relationship between the blind and deaf Michelle McNally and her teacher Debraj Sahay. Michelle (Ayesha Kapur/Rani Mukherjee) will never see the beauty of what so many of us are blessed to see. In her childhood, Michelle is rendered blind and deaf through an illness. The silent world in which she lives, without any means of communication turns her into a violent and explosive child. Enter Debraj (Amitabh Bachhan), a failed teacher, to lead her to the word of senses. He tries to tame her by paying back in the same coin – through aggression. After initial obstacles, he succeeds – Michelle learns her first words. But the triumph is not over. Debraj dreams of Michelle going to college, and becoming a graduate. However, fate has something more in store – Debraj falls into the grip of Alzheimer’s Disease, and slowly starts to forget everything – even Michelle. Now, the student has to become the teacher.
Amitabh Bachhan and Rani Mukherjee carry the film on their shoulders. This is perhaps Rani’s best performance till date. For those who believe Amitabh has already tried all kinds of roles, the eccentric Debraj Sahay is a revelation. This is his film. Your heart goes out to Shernaz Patel (of UTV fame – remember her?) who plays Michelle’s mother. Nandana Sen passes off fairly as Sarah, Michelle’s sister. However, it is Ayesha Kapur as the little Michelle who steals the show.
Black is a visual treat to watch – the cinematography by Ravi K Chandran is just splendid. The scenes shown in semi-dark conditions, with predominance to black-blue shades add to the beauty of the film. The background music and art direction are excellent – especially the huge sprawling McNally household. Some scenes do stand out – young Michelle’s first lessons on table manners, the incident with the “cake” (“Sometimes having eyes is not of much help” quotes Debraj), the scene where Michelle recognizes her dad and mom, the first signs of Debraj’s encounter with Alzheimer’s Disease, Michelle’s outburst at Sarah’s engagement and her speech at the graduation ceremony. And thankfully, there are no songs to spoil the situations.
So is ‘Black’ the perfect Hindi film that we have dreamed for? Far from it. Rani Mukherjee tends to go a little overboard at times (of course, Helen Keller did not have that cute Charlie Chaplin gait). After a brilliant first half, where the focus is on Michelle’s childhood, the film’s pace slackens considerably in the second half. Perhaps more attention could have been given at Debraj Sahay’s condition. The final scene where Michelle meets her teacher in her graduation robes, does not create the desired effect. I’ve heard that Alzheimer’s Disease does not have a cure. There’s no miraculous “Maa, main dekh sakti hoon” dialogues for Michelle(thanks!). Then why take a different view of Debraj’s disease alone?
Ah! Did I say “Hindi movie” at the start of that paragraph? Most of the characters use predominantly English. “Black” may not appeal to the masses in India, due to it’s sparing use of the national language. Does Sanjay Leela Bhansali believe that movies should be made only for the “Dil-Chahta-Hai” crowd in India? Or is he, through this movie, targeting a specific award that is given every year at the Kodak Theatre in Los Angeles? An Oscar dream might be a trifle too much for “Black”.
All said and done, Black is definitely a path-breaking effort in Indian cinema – a treat to watch for everyone who needs a break from the run-of-the-mill stuff dished out in the name of hindi films
Inspired from the real-life experiences of Helen Keller and her teacher Annie Sullivan, ‘Black’ details the relationship between the blind and deaf Michelle McNally and her teacher Debraj Sahay. Michelle (Ayesha Kapur/Rani Mukherjee) will never see the beauty of what so many of us are blessed to see. In her childhood, Michelle is rendered blind and deaf through an illness. The silent world in which she lives, without any means of communication turns her into a violent and explosive child. Enter Debraj (Amitabh Bachhan), a failed teacher, to lead her to the word of senses. He tries to tame her by paying back in the same coin – through aggression. After initial obstacles, he succeeds – Michelle learns her first words. But the triumph is not over. Debraj dreams of Michelle going to college, and becoming a graduate. However, fate has something more in store – Debraj falls into the grip of Alzheimer’s Disease, and slowly starts to forget everything – even Michelle. Now, the student has to become the teacher.
Amitabh Bachhan and Rani Mukherjee carry the film on their shoulders. This is perhaps Rani’s best performance till date. For those who believe Amitabh has already tried all kinds of roles, the eccentric Debraj Sahay is a revelation. This is his film. Your heart goes out to Shernaz Patel (of UTV fame – remember her?) who plays Michelle’s mother. Nandana Sen passes off fairly as Sarah, Michelle’s sister. However, it is Ayesha Kapur as the little Michelle who steals the show.
Black is a visual treat to watch – the cinematography by Ravi K Chandran is just splendid. The scenes shown in semi-dark conditions, with predominance to black-blue shades add to the beauty of the film. The background music and art direction are excellent – especially the huge sprawling McNally household. Some scenes do stand out – young Michelle’s first lessons on table manners, the incident with the “cake” (“Sometimes having eyes is not of much help” quotes Debraj), the scene where Michelle recognizes her dad and mom, the first signs of Debraj’s encounter with Alzheimer’s Disease, Michelle’s outburst at Sarah’s engagement and her speech at the graduation ceremony. And thankfully, there are no songs to spoil the situations.
So is ‘Black’ the perfect Hindi film that we have dreamed for? Far from it. Rani Mukherjee tends to go a little overboard at times (of course, Helen Keller did not have that cute Charlie Chaplin gait). After a brilliant first half, where the focus is on Michelle’s childhood, the film’s pace slackens considerably in the second half. Perhaps more attention could have been given at Debraj Sahay’s condition. The final scene where Michelle meets her teacher in her graduation robes, does not create the desired effect. I’ve heard that Alzheimer’s Disease does not have a cure. There’s no miraculous “Maa, main dekh sakti hoon” dialogues for Michelle(thanks!). Then why take a different view of Debraj’s disease alone?
Ah! Did I say “Hindi movie” at the start of that paragraph? Most of the characters use predominantly English. “Black” may not appeal to the masses in India, due to it’s sparing use of the national language. Does Sanjay Leela Bhansali believe that movies should be made only for the “Dil-Chahta-Hai” crowd in India? Or is he, through this movie, targeting a specific award that is given every year at the Kodak Theatre in Los Angeles? An Oscar dream might be a trifle too much for “Black”.
All said and done, Black is definitely a path-breaking effort in Indian cinema – a treat to watch for everyone who needs a break from the run-of-the-mill stuff dished out in the name of hindi films
Friday, January 07, 2005
Music review: Bewafaa
Bewafaa boasts of a stellar star cast – Anil Kapoor, Akshay Kumar, Kareena Kapoor, Sushmita Sen, Manoj Bajpai and Shamita Shetty. Behind the screens are Dharmesh Darshan, Boney Kapoor, Sahara One, Nadeem Shravan and Sameer. On top of this, the music album is an assembly of big stars. With such an ensemble, expectations from the film would run high. Fortunately, the music does live up to it – taking you down memory lane, to the days of “Saajan” and “Deewana”. Nadeem Shravan is back in business.
Udit Narayan excels in the opening track – Ek Dilruba Hai. An intensely hummable number, with impressive beats, the song has already gained popularity though the promos shown on the various television channels. There is also a short, slower version of the same song by Shaan – Pyar ki Raahein. The duo continue the good work with Pyaar Ka Anjaam, which strongly reminds you of “Aksar is Duniya Mein” from Dhadkan. Alka Yagnik and Sapna Mukherjee effortlessly carry the song on their shoulders. Even Kumar Sanu’s presence does not spoil the beauty of the song (thankfully!)
Lata Mangeshkar singing for Nadeem Shravan is indeed a rarity! Kaise Piya Se Main Kahun is surely for the Lata fans. A song about the girl waiting for her lover to come home, Lata proves that when it comes to soft romantic number, she’s still a force to reckon with. Lata’s rendering of the song does have the soothing effect of lulling you to sleep. The song, though, does raise the question of “inspiration”. The opening lines remind you of the Godfather theme (more commonly known in India as “Raja Ko Rani Se Pyar Ho Gaya”), and the whole song has a passing resemblance to “Are re Are Yeh Kya Hua” from “Dil To Pagal Hai”. If Lata put to sleep, Ishq Chhupta Nahin is sure to jolt you awake. This is perhaps the best song in the album (there is a similarity to “Tu Is Tarah Se Meri Zindagi Mein” from “Aap To Aise Na The”). Abhijeet’s soft voice is complimented to the hilt by the heavy use of the piano and the background chorus. A semi-ghazal type of number, it takes you back to the golden days of Nadeem Shravan, when they gave us “Mera Dil Bhi Kitna Pagal Hai”. Sheer bliss!
Kehta Hai Kabootar is one song which could well have been avoided. A song for the villain and vamp, this is a “fast-forward number” (no, not that it is a fast number, but because listeners might press the fast forward button), and could well destroy the whole mood of the album. If it doesn’t do so, the credit should go to the brilliance of Shaan and Asha Bhonsle, for getting into the skin of the characters. Watch out for the dialogues mouthed by these two in this number!
If Udit Narayan softened you up with Ek Dilruba Hai, Sonu Nigam will deliver the knockout punch with another version of the same song - Ek Bewafa Hai. The song has a thumping effect on the listener. The heavy orchestration with the excellent chorus lifts the song to great heights. Sonu Nigam perfectly conveys the anguish of the jilted lover with his controlled voice. The use of the guitars and drums are exhilarating.
First Lata Mangeshkar, then Asha Bhonsle, and now, Nadeem Shravan pull a rabbit out of the hat – Ghulam Ali’s voice says it all! Yaad Yaad Teri Yaad is sheer poetry to the ears. Nadeem Shravan have really pulled out a ground coup. Instead of restricting the song to a pure ghazal, they add their trademark touch with the chorus and orchestra, which makes the song more lovable. There are two instrumental pieces that follow the song - a lovely piano/keyboard verison of Kaise Piya Se Main Kahun and an impressive Drum Beats piece.
The fact that there are so many singers proves to be a blessing for Bewafaa. With different voices, there is freshness in each song. Perhaps the most notable feature about the album is the musical arrangement by the duo. The excellent orchestration of the songs stand out! Sameer’s lyrics are, as usual, splendid.
Bewafaa is certainly no Veer-Zaara or Kisna, and may not appeal to the masses. But for the romantic at heart, who used to adore the songs of the recent past when Nadeem Shravan ruled the roost in the industry, Bewafaa is a must buy.
Udit Narayan excels in the opening track – Ek Dilruba Hai. An intensely hummable number, with impressive beats, the song has already gained popularity though the promos shown on the various television channels. There is also a short, slower version of the same song by Shaan – Pyar ki Raahein. The duo continue the good work with Pyaar Ka Anjaam, which strongly reminds you of “Aksar is Duniya Mein” from Dhadkan. Alka Yagnik and Sapna Mukherjee effortlessly carry the song on their shoulders. Even Kumar Sanu’s presence does not spoil the beauty of the song (thankfully!)
Lata Mangeshkar singing for Nadeem Shravan is indeed a rarity! Kaise Piya Se Main Kahun is surely for the Lata fans. A song about the girl waiting for her lover to come home, Lata proves that when it comes to soft romantic number, she’s still a force to reckon with. Lata’s rendering of the song does have the soothing effect of lulling you to sleep. The song, though, does raise the question of “inspiration”. The opening lines remind you of the Godfather theme (more commonly known in India as “Raja Ko Rani Se Pyar Ho Gaya”), and the whole song has a passing resemblance to “Are re Are Yeh Kya Hua” from “Dil To Pagal Hai”. If Lata put to sleep, Ishq Chhupta Nahin is sure to jolt you awake. This is perhaps the best song in the album (there is a similarity to “Tu Is Tarah Se Meri Zindagi Mein” from “Aap To Aise Na The”). Abhijeet’s soft voice is complimented to the hilt by the heavy use of the piano and the background chorus. A semi-ghazal type of number, it takes you back to the golden days of Nadeem Shravan, when they gave us “Mera Dil Bhi Kitna Pagal Hai”. Sheer bliss!
Kehta Hai Kabootar is one song which could well have been avoided. A song for the villain and vamp, this is a “fast-forward number” (no, not that it is a fast number, but because listeners might press the fast forward button), and could well destroy the whole mood of the album. If it doesn’t do so, the credit should go to the brilliance of Shaan and Asha Bhonsle, for getting into the skin of the characters. Watch out for the dialogues mouthed by these two in this number!
If Udit Narayan softened you up with Ek Dilruba Hai, Sonu Nigam will deliver the knockout punch with another version of the same song - Ek Bewafa Hai. The song has a thumping effect on the listener. The heavy orchestration with the excellent chorus lifts the song to great heights. Sonu Nigam perfectly conveys the anguish of the jilted lover with his controlled voice. The use of the guitars and drums are exhilarating.
First Lata Mangeshkar, then Asha Bhonsle, and now, Nadeem Shravan pull a rabbit out of the hat – Ghulam Ali’s voice says it all! Yaad Yaad Teri Yaad is sheer poetry to the ears. Nadeem Shravan have really pulled out a ground coup. Instead of restricting the song to a pure ghazal, they add their trademark touch with the chorus and orchestra, which makes the song more lovable. There are two instrumental pieces that follow the song - a lovely piano/keyboard verison of Kaise Piya Se Main Kahun and an impressive Drum Beats piece.
The fact that there are so many singers proves to be a blessing for Bewafaa. With different voices, there is freshness in each song. Perhaps the most notable feature about the album is the musical arrangement by the duo. The excellent orchestration of the songs stand out! Sameer’s lyrics are, as usual, splendid.
Bewafaa is certainly no Veer-Zaara or Kisna, and may not appeal to the masses. But for the romantic at heart, who used to adore the songs of the recent past when Nadeem Shravan ruled the roost in the industry, Bewafaa is a must buy.
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