Not that I’m a conservative Indian in terms of wanting to watch movies with the protagonist running around trees, punching the antagonist and finally taking home his lady love; it’s just that it is much better than a movie with expletives in every single line and having to hear fellow viewers laugh just ‘cause the F word was used!
Such was my state when I watched ‘Delhi Belly’. I wouldn’t say I did not like the movie; I liked it in bits (Amir Khan’s item number for sure!). But having to hear people laugh just because someone swore and saw shit is a little annoying for me. I again re-iterate – I am not a conservative Indian movie viewer. I sure am up for a change; something which leaves me feeling happy at the end of it all. And I did end up watching such a movie – Deiva Thiirumagal.
The movie is a brilliant adaptation of ‘I am Sam’. As the director mentions, there is absolutely no similarity in terms of the story and it is completely Indian! One can relate to the storyline entirely and having watched ‘I am Sam’, not at one instance do I compare this version to the original.
Krishna, a borderline mentally challenged person, played brilliantly by Vikram, exudes all the qualities of the ‘best-est’ father in spite of his shortcomings. His wife Bhanu, a social worker, runs away from a wealthy home to fall in love with Krishna and mother his child. She unfortunately is chosen to go back to God, leaving behind her husband and the new born to fend for themselves.
Thanks to Krishna’s employer and other friends, little Nila grows up quite well. Trouble knocks first when she is admitted into school and she is unable to finish her homework etcetera. The correspondent of the school ends up being a mother figure to Nila, who actually turns out to be Nila’s kin. Nila is whisked away, leaving Krishna all alone.
How he gets his loved one back is the storyline of this movie and the ways and means used is what makes it an Indian story!
The choice of artistes could not have been better! Vikram as Krishna is utterly heart-warming whether he is being affectionate to his daughter or when he is around with his friends/colleagues. His timing of comedy is impeccable and is equally good when he gives us tears. My only issue was when he ran; it quite looked like what he was in Pithamagan!
Sarah, the little girl who portrayed Nila’s character is one girl anyone would want to take home and treasure! She has been made up very well whether it was the holy ash on her forehead or the clothes she wore. Her acting definitely was good and mature at several instances.
Anushka’s character as the lawyer was crisp and for once a female lead was not a mere bimbo. Her father, played by Y. G. Mahendran was a pleasant watch as well. The strained relationship between daughter and father improves, thanks to Krishna’s stay at their home.
Nasser, as the highly successful lawyer, M.S. Bhaskar as Krishna’s colleague and friend, Anushka’s friend who plays another lawyer and the guy (sorry, did not find his name) who is smitten by Anuskha’s friend, calling her ‘dear’ throughout – have all played their roles to perfection.
But for me, the real hero was Santhanam who played Vinod, another lawyer who works with Anushka. The timing of his comedy was faultless and for those who are tired of watching Vadivel getting beaten up and calling it comedy or Vivek letting fly punch dialogues with a message, Santhanam is a whiff of fresh air! Whether he calls Krishna, Mr. Sweater or is forced to act as though he is mentally retarded, to get away from trouble, he was just too good!
Nirav Shah as cinematographer has done a commendable job and our very own Ooty looked stunning. Music by G.V. Prakash, needless to say, was pleasing again. For me the stand out songs had to be ‘Aariro’ by Haricharan and ‘Vizhigalil oru Vaanavil’ by Sandhavi.
Overall, I’d give it a 4 on 5.
Showing posts with label Review. Show all posts
Showing posts with label Review. Show all posts
Monday, July 18, 2011
Monday, June 28, 2010
Raavanan dhaan Raman!
Enter cops in Vikramasingapram, courtesy chief cop Dev Prasad (Prithviraj). Exit cops from Vikramasingapuram, courtesy Veeraiyya(Vikram) and clan. The ten headed rustic romantic loses his sister to flesh seeking cops and to avenge the pain, he kidnaps Ragini (Aishwarya Rai), wife of Dev.
The first half of the movie is all about survival for Ragini by putting up a bold face which she complements by bold acts which melts the bad boy Raavanan’s otherwise tough heart. The openness with which he confesses love for Ragini is intriguingly indirect! The moments where he asks her to stay back with him is utterly dreamy and her swaying feelings blend in well.
The second half finally seems like the movie is heading somewhere. A proper story line connects the actions on screen where the search for the lost wife gains rigour. Whoever found the locales for this movie deserve a 5 on 5. One is instantly drawn to the coarseness, the dirt, the rain and the forest. The cinematographers Santosh Sivan and Manikandan get another 5 on 5. Whether one is watching a grasshopper sitting on the branch of a tree or the searching eyes intense with emotion, the directors of photography have created magic and only magic.
Now for the cast; Vikram himself deserves a 100 on 100 if not more. From Chitthan in Pithamagan to this Raavanan, Vikram’s acting skills are undoubtedly exceptional. His physical features display all the roughness required and his dialogue delivery is just as extraordinary. Aishwarya Rai has to be complimented for dubbing in her own voice but the make up artist could have done away with all the waterproof eye liner and lipstick! Anyway she comes across as ‘God made no one perfect except her’, so it would not have mattered if she didn’t have the extra baggage called cosmetics.
Prithviraj as Dev Prasad aka Rama as in the storyline looks great. However he shows no pain that his wife has been kidnapped, except when he saves the dress she is wearing or during the song ‘Kalvare’. His only aim is getting at Veeraiyya and an addition would be getting his wife back. Maybe his character was meant to be that of a workaholic!
Prabhu, Karthik and Priya Mani have all essayed their roles well. However, the National Award winner Priya Mani seems to be getting roles which involve rapes alone! How sad! The climax with all its twists is decent, but one really feels for Raavanan. He surely is Rama for me!
I claimed that the tamil version of the music was not as good as the Hindi version. But in the movie, the songs and the background score merge in very well and the last song by Rahman, ‘Naan meendum varuven’ lingers for a long time.
Overall, a on 3 on 5!
The first half of the movie is all about survival for Ragini by putting up a bold face which she complements by bold acts which melts the bad boy Raavanan’s otherwise tough heart. The openness with which he confesses love for Ragini is intriguingly indirect! The moments where he asks her to stay back with him is utterly dreamy and her swaying feelings blend in well.
The second half finally seems like the movie is heading somewhere. A proper story line connects the actions on screen where the search for the lost wife gains rigour. Whoever found the locales for this movie deserve a 5 on 5. One is instantly drawn to the coarseness, the dirt, the rain and the forest. The cinematographers Santosh Sivan and Manikandan get another 5 on 5. Whether one is watching a grasshopper sitting on the branch of a tree or the searching eyes intense with emotion, the directors of photography have created magic and only magic.
Now for the cast; Vikram himself deserves a 100 on 100 if not more. From Chitthan in Pithamagan to this Raavanan, Vikram’s acting skills are undoubtedly exceptional. His physical features display all the roughness required and his dialogue delivery is just as extraordinary. Aishwarya Rai has to be complimented for dubbing in her own voice but the make up artist could have done away with all the waterproof eye liner and lipstick! Anyway she comes across as ‘God made no one perfect except her’, so it would not have mattered if she didn’t have the extra baggage called cosmetics.
Prithviraj as Dev Prasad aka Rama as in the storyline looks great. However he shows no pain that his wife has been kidnapped, except when he saves the dress she is wearing or during the song ‘Kalvare’. His only aim is getting at Veeraiyya and an addition would be getting his wife back. Maybe his character was meant to be that of a workaholic!
Prabhu, Karthik and Priya Mani have all essayed their roles well. However, the National Award winner Priya Mani seems to be getting roles which involve rapes alone! How sad! The climax with all its twists is decent, but one really feels for Raavanan. He surely is Rama for me!
I claimed that the tamil version of the music was not as good as the Hindi version. But in the movie, the songs and the background score merge in very well and the last song by Rahman, ‘Naan meendum varuven’ lingers for a long time.
Overall, a on 3 on 5!
Tuesday, March 23, 2010
My take on Love, Sex aur Dhoka
First of all, get ready not to watch a semi-porn movie. If you thought the title just sets you into a mood to watch all the raunchy action, it quite isn’t the director’s priority. Three short stories denoting love, sex and dhoka (being cheated) respectively, are plotted perfectly. Better even is the connection between the three short stories; it hits you like lightening that for weak brains like me, it took a bit longer to actually understand the association!
The first plot, love, pretty much proves that the emotion is not at all times blissful! A final year student Rahul (Anshuman Jha) is directing a movie for his diploma course and ends up falling in love with the female lead in the movie, Shruthi. The girl’s dad and brother, play the typical protective sorts and some element of comedy exists. Knowing fully well that their love will not be accepted, they elope and marry. What follows after that is a gory, but true image of the darker side of love.
The second plot, sex, provides some amount of sleaze for those who still think the title has to justice! Between love and money, the latter sure has an upper hand boy! A new camera has been set up in a supermarket and it has to have some work right? So, it has to play the role of filming ‘the act’ between the heavily debted Adarsh, the store manager who desperately needs money to free himself from unending financial constraints and Rashmi, a ‘dark behenji’ types who eventually gets vulnerable. From seriously falling in love to succumbing to want of money, this plot is pretty much the locus of the entire movie. Much of the connection between the three plots happen in this very supermarket.
The third plot, illustrates the casting couch in the reel world and the media relentlessly trying by means not so right just to bag the ‘headlines of the year’ title. The photographer unable to fund for his wife and kid but having a liking for the girl who helps him in the entire process of unearthing the singer’s weaknesses shows yet another face of dhoka. Herry Tangri plays the role of Loki Local well and reminds you of a famous singer's episode of the casting couch drama.
What makes this movie all the more wonderful is the usage of a hand held camera by the respective character of each plot. Dibakar Banerjee, the director, has made a watchable movie and even the A rated scenes does not make one shift uneasily in his/her seat. However, blood and gore are not my cups of tea and hence I did feel uneasy watching some scenes in the first plot but overall a movie with both my thumbs up!
I haven’t heard any of Sneha Khanwilkar’s music previously and hence cannot compare. But the title track is really apt and the background score blends utterly well. I may have not mentioned some characters and that’s for you to watch because this is one helluva movie!
As I walked out of the movie hall, my friend aptly commented, “When movies like ‘My Name is Khan’ gets 4 stars, this movie is way beyond that”.
The first plot, love, pretty much proves that the emotion is not at all times blissful! A final year student Rahul (Anshuman Jha) is directing a movie for his diploma course and ends up falling in love with the female lead in the movie, Shruthi. The girl’s dad and brother, play the typical protective sorts and some element of comedy exists. Knowing fully well that their love will not be accepted, they elope and marry. What follows after that is a gory, but true image of the darker side of love.
The second plot, sex, provides some amount of sleaze for those who still think the title has to justice! Between love and money, the latter sure has an upper hand boy! A new camera has been set up in a supermarket and it has to have some work right? So, it has to play the role of filming ‘the act’ between the heavily debted Adarsh, the store manager who desperately needs money to free himself from unending financial constraints and Rashmi, a ‘dark behenji’ types who eventually gets vulnerable. From seriously falling in love to succumbing to want of money, this plot is pretty much the locus of the entire movie. Much of the connection between the three plots happen in this very supermarket.
The third plot, illustrates the casting couch in the reel world and the media relentlessly trying by means not so right just to bag the ‘headlines of the year’ title. The photographer unable to fund for his wife and kid but having a liking for the girl who helps him in the entire process of unearthing the singer’s weaknesses shows yet another face of dhoka. Herry Tangri plays the role of Loki Local well and reminds you of a famous singer's episode of the casting couch drama.
What makes this movie all the more wonderful is the usage of a hand held camera by the respective character of each plot. Dibakar Banerjee, the director, has made a watchable movie and even the A rated scenes does not make one shift uneasily in his/her seat. However, blood and gore are not my cups of tea and hence I did feel uneasy watching some scenes in the first plot but overall a movie with both my thumbs up!
I haven’t heard any of Sneha Khanwilkar’s music previously and hence cannot compare. But the title track is really apt and the background score blends utterly well. I may have not mentioned some characters and that’s for you to watch because this is one helluva movie!
As I walked out of the movie hall, my friend aptly commented, “When movies like ‘My Name is Khan’ gets 4 stars, this movie is way beyond that”.
Saturday, December 5, 2009
The Kathakar shines!
The Department of Kannada and Culture, Bangalore, organizes Yuva Sourabha, an every Wednesday program, lending a platform for artistes in music and dance alike. This Wednesday, saw the recital of Keerthi Kumar, a Kathak dancer, training under the illustrious Kathak exponent, Dr Maya Rao.
The recital began with Phalanetra, a prayer to Lord Shiva set to Ek Taal in Rag Malkauns. The dancer began with utmost confidence and eased into graceful movements there on.
Just as the ‘Varna’ shows the excellence and technical proficiency in Bharathanatyam, ‘Nrittha’ does the same in Kathak. It comprises the Thaat or the Sringar, Aamad which means start or beginning in Persian and Tukdas, ie, rhythmic fragments. Set to Tri taal (16 beats), the Nrittha contained both Lucknow and Jaipur Gharana in its choreography, directed radiantly by Dr Maya Rao herself.
In this piece, a dancer recites various bols (or beats) and reciprocates the same by dancing to it. Keerthi chose to recite Parans, Chakradhar, a small piece on Holi and a Tabla Bol which he executed admirably which was evident from the crowd/connoisseurs’ claps and words of encouragement. A technical piece in nature, the Kathakar must be able to come to ‘Sam’ or right on the beat and he didn’t miss it once! Minor flaws in terms of rigidity in his upper body were almost nullified with a self-assured air around him and subtlety in his movements. Keerthi executed the technical piece with much flamboyance.
The highlight of the entire evening was the next item, Saint Tulsidas’ Shri Ramachandra Kripalu Bhajumana set to Rupak Taal in Rag Yaman. The composition by Anil Biswas in itself is a masterpiece and a very popular one. The choreography, again by Guru Maya Rao spoke volumes! Lord Rama’s curls tied high up and in the same way the quiver holding his arrows were wonderfully portrayed by the dancer. Lot of hard work was apparent in the way the dancer had built his physique and the attention to the costumes worn.
The musicians who skilfully accompanied Keerthi were as follows:
• Vocals: Sri Shankar Shanbouge
• Padanth: Smt Ramya Anoop
• Sitar: Smt Shruthi Kamath
• Tabla: Sri Ajay Kumar Singh
• Flute: Sri Prakash Hedge
Shankar Shanbouge, always known for his classy voice, didn’t fail the dancer here either. With much dexterity, he complemented the dancer throughout. Among the instrumentalists, Smt Shruthi Kamath was a sure stand out.
What the viewers perceived to be a stop gap, was in fact a kind of a prequel to Keerthi’s next piece. The vocalist sang a Kannada Devarnama, ‘Ishtu Dhina E Vaikunta’. The piece which followed, ‘Oh Ena Baarade?’, was a Vittala Dasa devarnama, set to Tri Taal in Rag Attana, where the devotee questions the Almighty as to why he doesn’t answer any of the former’s call for attention. The devotee quotes instances of the elephant being rescued from the deadly jaws of the crocodile and also depicts all the ten avatars. The portrayal was good, which could have been better though.
Finally, came the Tarana, poet Amir Khusru’s innovation which are sung in Hindustani musical concerts and performed by dancers who hail from many North Indian styles, Keerthi chose to perform one set to Rag Desh. However, the singer, Shankar stole the dancer’s strength on stage and sang to perfection.
Nevertheless, a highly professionally trained Keerthi Kumar showed his proficiency not only in the technical piece but also in the form of emotions throughout. Never once did the feeling of he overdoing them came to be witnessed. Crisp body movements and a sense of confidence prevailed throughout making him a dancer to watch out for. Kathak is seeing many duos entertaining connoisseurs, but solo male Kathakars are few in number.
On the whole, the show was very immaculate in terms of music, comperes, apt lighting by Janardhan and the dancer himself. Coming from a renowned school of dance, Keerthi has made use of it well, in terms of his learning and efficient execution on stage. He has it all in him to become a renowned male Kathak artiste.
The recital began with Phalanetra, a prayer to Lord Shiva set to Ek Taal in Rag Malkauns. The dancer began with utmost confidence and eased into graceful movements there on.
Just as the ‘Varna’ shows the excellence and technical proficiency in Bharathanatyam, ‘Nrittha’ does the same in Kathak. It comprises the Thaat or the Sringar, Aamad which means start or beginning in Persian and Tukdas, ie, rhythmic fragments. Set to Tri taal (16 beats), the Nrittha contained both Lucknow and Jaipur Gharana in its choreography, directed radiantly by Dr Maya Rao herself.
In this piece, a dancer recites various bols (or beats) and reciprocates the same by dancing to it. Keerthi chose to recite Parans, Chakradhar, a small piece on Holi and a Tabla Bol which he executed admirably which was evident from the crowd/connoisseurs’ claps and words of encouragement. A technical piece in nature, the Kathakar must be able to come to ‘Sam’ or right on the beat and he didn’t miss it once! Minor flaws in terms of rigidity in his upper body were almost nullified with a self-assured air around him and subtlety in his movements. Keerthi executed the technical piece with much flamboyance.
The highlight of the entire evening was the next item, Saint Tulsidas’ Shri Ramachandra Kripalu Bhajumana set to Rupak Taal in Rag Yaman. The composition by Anil Biswas in itself is a masterpiece and a very popular one. The choreography, again by Guru Maya Rao spoke volumes! Lord Rama’s curls tied high up and in the same way the quiver holding his arrows were wonderfully portrayed by the dancer. Lot of hard work was apparent in the way the dancer had built his physique and the attention to the costumes worn.
The musicians who skilfully accompanied Keerthi were as follows:
• Vocals: Sri Shankar Shanbouge
• Padanth: Smt Ramya Anoop
• Sitar: Smt Shruthi Kamath
• Tabla: Sri Ajay Kumar Singh
• Flute: Sri Prakash Hedge
Shankar Shanbouge, always known for his classy voice, didn’t fail the dancer here either. With much dexterity, he complemented the dancer throughout. Among the instrumentalists, Smt Shruthi Kamath was a sure stand out.
What the viewers perceived to be a stop gap, was in fact a kind of a prequel to Keerthi’s next piece. The vocalist sang a Kannada Devarnama, ‘Ishtu Dhina E Vaikunta’. The piece which followed, ‘Oh Ena Baarade?’, was a Vittala Dasa devarnama, set to Tri Taal in Rag Attana, where the devotee questions the Almighty as to why he doesn’t answer any of the former’s call for attention. The devotee quotes instances of the elephant being rescued from the deadly jaws of the crocodile and also depicts all the ten avatars. The portrayal was good, which could have been better though.
Finally, came the Tarana, poet Amir Khusru’s innovation which are sung in Hindustani musical concerts and performed by dancers who hail from many North Indian styles, Keerthi chose to perform one set to Rag Desh. However, the singer, Shankar stole the dancer’s strength on stage and sang to perfection.
Nevertheless, a highly professionally trained Keerthi Kumar showed his proficiency not only in the technical piece but also in the form of emotions throughout. Never once did the feeling of he overdoing them came to be witnessed. Crisp body movements and a sense of confidence prevailed throughout making him a dancer to watch out for. Kathak is seeing many duos entertaining connoisseurs, but solo male Kathakars are few in number.
On the whole, the show was very immaculate in terms of music, comperes, apt lighting by Janardhan and the dancer himself. Coming from a renowned school of dance, Keerthi has made use of it well, in terms of his learning and efficient execution on stage. He has it all in him to become a renowned male Kathak artiste.
Tuesday, October 27, 2009
These musicians are turning earth into heaven!
This is a long due review, views; call it whatever! Swarathma, an Indian contemporary folk fusion band as they call themselves, have, are and will be carrying with themselves a huge fan following. Unfortunately, I’ve seen them perform live only once but hear them virtually everyday!
The band members are as follows:
• Vasu Dixit - Vocals, acoustic guitar
• Jishnu Dasgupta - Bass, backing vocals
• Varun - Guitars, backing vocals
• Montry Manuel – Drums
• Pavan Kumar – Percussions
• Sanjeev Nayak – Violins
As mere listeners when we watch a show, we generally concentrate on that one person who is the pick of the day or the one who is at his/her best on a given day, but Swarathma is one group loaded with talent in each of the members. The team is packed with some astounding energy whether it’s the start of the show or the fag end!
First impression is the best they say, and Swarathma has vowed their performance by this. Their presentation skills in terms of clothing, marketing, music which is of utmost importance is utterly professional. I have always noticed this in most bands: each of them standing in their fixed positions, concentrating on their instruments alone. Only the lead singer is all over the stage filling in some life. This was the case in the recent rock show I was witness to that too a leading band in India.
However, Swarathma impressed me on this note too! Vasu and Jishnu were on fire, involving all the musicians, the listeners and virtually the bartender too! To top it all, Montry the drummer on a different league altogether! He was so involved, it was all emanating on his face! Thorough enjoyment I must say! Personally, my favourite was Sanjeev on the violins! Bald men always thrill me ;) But then his music spoke for himself. He and Varun looked composed and let their music speak.
Coming to their songs, Yeshu Allah aur Krishna, Jaana Kahaan hai mujhe, Ee Bhoomi, Topiwalleh, Tibet and Pyaasi are my top favourites. Their lyrics are simple, refreshing and mirror their thoughts. The use of classical instruments like the Khanjiri sure blends its way with the other western instruments and is quite pleasing to the ear.
I’ve said all good things till now. Time for some suggestions! When it comes to another genre, say classical music; there are tons of compositions. So a musician has a choice of presenting different songs every concert. However, bands like these have to continually innovate, create new songs, not just for an album but for their performance galore! Right now, Topiwalleh and Tibet are the latest additions, but 3 or 4 concerts later, though their present numbers are crowd pullers, more will be expected of them. This is purely my view and many may beg to differ. Nevertheless, considering their talent, I am pretty sure they are capable of belting out new compositions every month :)
Lastly, I hope the team sticks together as many bands these days, once making it big generally tend to disintegrate and the initial spark is totally lost. So, a big hope that they hold on strong at least for their fans! Oh yes! Another thing! A small search on each of the members reveal that one is an XLRI pass out, one is as young as 21 years of age and so on. It really feels nice that even after big accomplishments, these guys are getting to pursue their passion. Some sincerity towards music for sure!
In their recent update I read they felt on top of the world to be sharing the stage with India’s top rock bands; the day is not far off when other up and coming bands will feel the same with Swarathma themselves! You rock guys!
The band members are as follows:
• Vasu Dixit - Vocals, acoustic guitar
• Jishnu Dasgupta - Bass, backing vocals
• Varun - Guitars, backing vocals
• Montry Manuel – Drums
• Pavan Kumar – Percussions
• Sanjeev Nayak – Violins
As mere listeners when we watch a show, we generally concentrate on that one person who is the pick of the day or the one who is at his/her best on a given day, but Swarathma is one group loaded with talent in each of the members. The team is packed with some astounding energy whether it’s the start of the show or the fag end!
First impression is the best they say, and Swarathma has vowed their performance by this. Their presentation skills in terms of clothing, marketing, music which is of utmost importance is utterly professional. I have always noticed this in most bands: each of them standing in their fixed positions, concentrating on their instruments alone. Only the lead singer is all over the stage filling in some life. This was the case in the recent rock show I was witness to that too a leading band in India.
However, Swarathma impressed me on this note too! Vasu and Jishnu were on fire, involving all the musicians, the listeners and virtually the bartender too! To top it all, Montry the drummer on a different league altogether! He was so involved, it was all emanating on his face! Thorough enjoyment I must say! Personally, my favourite was Sanjeev on the violins! Bald men always thrill me ;) But then his music spoke for himself. He and Varun looked composed and let their music speak.
Coming to their songs, Yeshu Allah aur Krishna, Jaana Kahaan hai mujhe, Ee Bhoomi, Topiwalleh, Tibet and Pyaasi are my top favourites. Their lyrics are simple, refreshing and mirror their thoughts. The use of classical instruments like the Khanjiri sure blends its way with the other western instruments and is quite pleasing to the ear.
I’ve said all good things till now. Time for some suggestions! When it comes to another genre, say classical music; there are tons of compositions. So a musician has a choice of presenting different songs every concert. However, bands like these have to continually innovate, create new songs, not just for an album but for their performance galore! Right now, Topiwalleh and Tibet are the latest additions, but 3 or 4 concerts later, though their present numbers are crowd pullers, more will be expected of them. This is purely my view and many may beg to differ. Nevertheless, considering their talent, I am pretty sure they are capable of belting out new compositions every month :)
Lastly, I hope the team sticks together as many bands these days, once making it big generally tend to disintegrate and the initial spark is totally lost. So, a big hope that they hold on strong at least for their fans! Oh yes! Another thing! A small search on each of the members reveal that one is an XLRI pass out, one is as young as 21 years of age and so on. It really feels nice that even after big accomplishments, these guys are getting to pursue their passion. Some sincerity towards music for sure!
In their recent update I read they felt on top of the world to be sharing the stage with India’s top rock bands; the day is not far off when other up and coming bands will feel the same with Swarathma themselves! You rock guys!
Saturday, August 15, 2009
Music review of Kanden Kadhalai
This is my first tryst with a music review, so I have tried my best :) ‘Kanden Kadhalai’, starring Bharath and Tamanna is the remake of the Hindi hit, ‘Jab We Met’. Music is by Vidyasagar and Na Muthukumar and Yugabharathi are the lyricists. With 6 tracks in the album, Vidyasagar has given a taste of a bit of this and that. His recent hits ‘Abhiyum Naanum’ and ‘Mozhi’ have surely raised expectations and he has not failed to deliver.
Of course! One cannot compare the music of ‘Jab We Met’ and this, but then as laymen we are sure to bring out some similarities between the two. However, I have tried to keep it to the minimum.
The biggest impact in this album has definitely been created by the flautist (unfortunately, couldn’t get the name). And I don’t want to make wrong guesses. 4 out of 6 songs have been dominated by the instrument and never once did I feel that it was jarring! The melody created by the instrument in each of the song is apt and it sure is a dream run for the flautist.
1. Title track: Kanden Kadhalai
Singers: Udit Narayan and Karthik
To begin with, it is a decent track, with Udit’s diction improving for sure! Karthik has just pitched in but as always he stands out. Generally title tracks are the ‘Hero’s intro song’ but this is a romantic song with all the joys got, courtesy love! The flautist as I mentioned has some nice scores. Otherwise, there is nothing special in the song which makes you want to listen to it again. For a title track, it sure could have been better.
2. Sududhu Sududhu
Singer: Hariharan
Hariharan never fails, does he? A song with a folk touch to it, Hariharan is at it yet again and is perfect! His nuances in the beginning are awesome! They keep coming at the end of every stanza and your jaws drop! No one can do it better! The choice of singer has been rewarding for the director. Again, the dominance of flute makes this folk number a nice melody too. A folk song cannot be complete without the molams! So, with no dearth of the jhink-jhak kutthus, the song is a complete entertainer.
3. Naan mozhi arindhen
Singer: Suresh Wadkar
A big surprise I must say when I saw the name Suresh Wadkar! Predominantly a Hindi and Marathi singer, Wadkar deserves much praise for this song. Song wise it has Vidyasagar’s signature. Yugabharathi has done justice to this song with his meaningful lyrics. It somehow reminds me of the mellifluous tunes of ‘Mozhi’. The ensemble of instruments is pleasurable and on the whole, this song can be added into the list of Vidyasagar’s best.
4. Kaatru Pudhidhai
Singer: Rahul Nambiar
The start of the song seems like it is a fight sequence to portray the heroics of the male lead. There is this particular beat which is used through-out the song which is a clear stand out. However, it is a surprise because the actual song is a romantic number. Like the title track this also talks of the joy got from being in love and what changes the girl has brought into the guy’s life! Though the song is a western,number, the flautist intrudes again but strikes the right chord. Rahul Nambiar is just getting better with every song. The variety in every song of his is definitely showing. The confidence in the singer’s voice from the opening notes adds to the song’s credits.
5. Oododi poren
Singers: Lavanya, Rashmi Vijayan
This one must be the counter to Kareena’s ‘Yeh ishq hai’ in the Hindi version. Nothing great, it is the usual run of the mill song. You can miss this one!
6. Oru naal iravil
Singers: Tippu, Benny Dayal
Benny has carved a niche for singing such songs, so he does his job neatly. Tippu has a refreshing and happy voice so this isn’t any different. He has played his bit to perfection as well. Some songs do well because of the music, some due to lyrics and most due to the singer. The credit to this one I think goes to the music.
Among the lyricists, Yugabharathi is the best with his ‘Naan mozhi arindhen’. Overall, it is a decent album.
Of course! One cannot compare the music of ‘Jab We Met’ and this, but then as laymen we are sure to bring out some similarities between the two. However, I have tried to keep it to the minimum.
The biggest impact in this album has definitely been created by the flautist (unfortunately, couldn’t get the name). And I don’t want to make wrong guesses. 4 out of 6 songs have been dominated by the instrument and never once did I feel that it was jarring! The melody created by the instrument in each of the song is apt and it sure is a dream run for the flautist.
1. Title track: Kanden Kadhalai
Singers: Udit Narayan and Karthik
To begin with, it is a decent track, with Udit’s diction improving for sure! Karthik has just pitched in but as always he stands out. Generally title tracks are the ‘Hero’s intro song’ but this is a romantic song with all the joys got, courtesy love! The flautist as I mentioned has some nice scores. Otherwise, there is nothing special in the song which makes you want to listen to it again. For a title track, it sure could have been better.
2. Sududhu Sududhu
Singer: Hariharan
Hariharan never fails, does he? A song with a folk touch to it, Hariharan is at it yet again and is perfect! His nuances in the beginning are awesome! They keep coming at the end of every stanza and your jaws drop! No one can do it better! The choice of singer has been rewarding for the director. Again, the dominance of flute makes this folk number a nice melody too. A folk song cannot be complete without the molams! So, with no dearth of the jhink-jhak kutthus, the song is a complete entertainer.
3. Naan mozhi arindhen
Singer: Suresh Wadkar
A big surprise I must say when I saw the name Suresh Wadkar! Predominantly a Hindi and Marathi singer, Wadkar deserves much praise for this song. Song wise it has Vidyasagar’s signature. Yugabharathi has done justice to this song with his meaningful lyrics. It somehow reminds me of the mellifluous tunes of ‘Mozhi’. The ensemble of instruments is pleasurable and on the whole, this song can be added into the list of Vidyasagar’s best.
4. Kaatru Pudhidhai
Singer: Rahul Nambiar
The start of the song seems like it is a fight sequence to portray the heroics of the male lead. There is this particular beat which is used through-out the song which is a clear stand out. However, it is a surprise because the actual song is a romantic number. Like the title track this also talks of the joy got from being in love and what changes the girl has brought into the guy’s life! Though the song is a western,number, the flautist intrudes again but strikes the right chord. Rahul Nambiar is just getting better with every song. The variety in every song of his is definitely showing. The confidence in the singer’s voice from the opening notes adds to the song’s credits.
5. Oododi poren
Singers: Lavanya, Rashmi Vijayan
This one must be the counter to Kareena’s ‘Yeh ishq hai’ in the Hindi version. Nothing great, it is the usual run of the mill song. You can miss this one!
6. Oru naal iravil
Singers: Tippu, Benny Dayal
Benny has carved a niche for singing such songs, so he does his job neatly. Tippu has a refreshing and happy voice so this isn’t any different. He has played his bit to perfection as well. Some songs do well because of the music, some due to lyrics and most due to the singer. The credit to this one I think goes to the music.
Among the lyricists, Yugabharathi is the best with his ‘Naan mozhi arindhen’. Overall, it is a decent album.
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