Monthly Archives: May 2010
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I thought I would assimilate the entire thing into a single post, but I was unable to do so. It has taken me 2 weeks to complete this because I was not able to dedicate myself totally to it. Anyways, here’s the next part, continuing with the number series.
6. Jab Jab Phool Khile – 1965 : One of the earlier movies of Shashi Kapoor where he plays Raja, a houseboat owner-cum-guide. Rita, played by Nanda, visits Kashmir and she falls in love with the valleys. Not just the valleys, she falls in love with the charming boatman Raja too. She promises Raja that she will convince her dad and get back to marry him. But Raja is shattered when Rita does not return for a very long time. Meanwhile Rita is being introduced to suitors as her dad presses for marriage. Rita returns to Kashmir and explains the situation to Raja, and they together hatch a plan to showcase Raja as a wellbred citizen who is prim and proper in his habit and mannerism. That is when Raja notices the difference in cultures and the superficiality of the city dwellers. What happens next and how Raja copes with this and finally gets Rita, forms the rest.
In 1996 Dharmesh Darshan along with Robin Bhat rehashed this movie and titled it Raja Hindustani. Aamir Khan played Raja, the cab driver-cum-guide and Karishma Kapoor played Arti Sehgal who visits the small town of Palankhet. The only thing that they added was the newborn child for whom Raja fights it out with Arti. The highlight of the movie, apart from the wonderful songs, was the drunk-scene of Aamir. Legend has it hat Aamir being a method-actor actually got drunk so that it would look natural. Aamir won the Filmfare for Best Actor, but as usual he did not turn-up and quite justifiably so, because it was a mediocre performance. Karishma looked amazingly beautiful and she walked away with Filmfare Best Actress. The movie also won the Fimlfare for Best Film, Best Music Director and Udit Narayan won the Best Singer for the Pardesi song. But this song was not as good as the original Pardesiyon Se Na Akhiyan Milana song.
7. On The Waterfront – 1954 : A story about corruption and total control of a dockyard was made starring Marlon Brando as Terry Malloy. Johnny Friendly rules the docks of Hoboken, New Jersey and Terry’s brother Charley is his lawyer who does all the cover-up job. Terry moves around as an aimless guy so johnny asks him to pry over the gathering of the dissenting voices against him and report him the events. Very innocently Terry reports Johnny about certain dock workers who want to lodge a complaint to the crime commission against him. Johnny is also involved in other illegal activities like betting on boxing matches and in one such match he wants Terry to lose the match since the odds against the opponent is high. Terry is disappointed by this but what actually turns him against Johnny is the incident where Johnny’s men throw over a dock worker into the railway track of an incoming train. But Terry lives with the guilt that he has been made use like a bait and the only way to find peace within himself is to depose against Johnny. The deceased’s younger sister Edie and Father Barry. When Terry becomes a threat to him, Johnny decides to get him eliminated. Terry and Johnny have a final confrontation where Terry testifies against Johnny and then fights him in front of all dock workers and decimates him.
This movie has been a source of inspiration for quite a few Bollywood movies. Let me start with Yash Chopra’s Deewar, which was supposedly
lifted from this. But the only thing common was the dockyard. In fact, Mukul Anand’s Hum was more of this movie than Deewar. Hum had the docks, the martinet Danny Dengzongpa as Bhaktavar, Gonsalves who dies fighting for the cause and his sister Jumma played by Kimi Katkar who wants Tiger aka Amitabh Bachchan to stand against the tyranny of Bhaktavar. So, Mukul Anand almost had the entire plot covered but he took it to a different logical conclusion with the reform of Tiger as Shekhar and how Bhaktavar returns 20 years later to haunt him.
In 1988, a lesser known movie called Kabzaa directed by Mahesh Bhat, was released. The movie starred Sanjay Dutt as Ravi and Raj Babbar as
Ranjit. Ranjit is a lawyer who works for Veljibhai[Paresh Rawal] who is a small time ‘dada’. Ravi is sent on small assignment to forcibly vacate the house of an idealist gandhain Ali Mohammaed [Alok Nath]. Ali reforms Ravi and Ravi turns against Veljibhai, and to avert a face-off between the two, Ranjit requests Ravi to flee from the scene as Veljibhai’s men are looking for him; he also hands Ravi a gun for his protection. All this was taken from OTW, but the backdrop had been changed from dockyard to Mumbai streets and from small time corruption to big time dadagiri.
Finally, 10 years later in 1998, Ghulam was made. The writer Anjum Rajabali, maintained the same setting of Mumbai and laid out the entire screenplay of OTW. He avoided the twists and turns that Kabzaa had taken, thereby remaining faithful to the original. Aamir Khan as Sidharth Marathe struck a chord with the audience. They related to him and sympathised with him in his pain and guilt of having been used as a pawn to eliminate Alisha’s [Rani Mukerjee] elder brother. Sidhu’s elder brother, played by Rajit Kapoor, advises Sidhu not to testify against Raunak Singh[Sharat Saxena] and when he is not able to convince Sidhu he gives him a gun for protection. The same scenes were played out as in the original, and the audience cheered for Sidhu as he beat up Raunak Singh in the end. Aamir playing tapori for the 2nd time [1st being Rangeela] was amazing. He played it so differently, his mannerism and dialogue delivery and the Khandala song, which became the anthem of the nation, just added to the movie viewing experience. The 10-10 ka daud was shot brilliantly in Shanpada junction. Aamir gave it his all, the conviction in his performance was evident. He did total justice to the character and was almost there when compared to Marlon Brando’s performance.
8. Love Affair – 1939 : One of the most romantic movies to adorn the silver screen was released. It was about a French painter Michael Marnet, played by Charles Boyer, who meets Terry McKay[Irene Dunne] while they are on a cruise across Atlantic Ocean. They both are already engaged to other people but that does not prevent them from falling in love. The ship has a minor stop-over in a beautiful island where Michael’s grandmom stays; she finds Terry really charming and wishes the newfound couple all the luck. At the end of the cruise, Michael and Terry decide to meet on top of Empire State Building exactly after 6 months. While both are gearing up for the big day, Terry gets hit by a car and she is unable to make it. When she finds out that she cannot walk anymore she does not want to spoil Michael’s life and so she does not get in touch with him. But destiny brings them together again during a stage-play, where she successfully hides her handicap. After this meet, Michael wants to see her one last time and visits her apartment where he gets to know the truth. But her handicap cannot come in the way of true love and the two lovers unite.
So brilliant was the story-screenplay that this movie was remade in 1957 and titled An Affair To Remember based on the same screenplay,
without any changes. Cary Grant played the painter Nickie Ferrante and his love interest was played by Deborah Kerr who retained the same name Terry McKay. This movie did much better than its original and people remember this version and have almost forgotten the original one. Cary Grant and Deborah were perfectly cast and they did a wonderful job. The romance was so believable and so heart-warming that the American Film Institute considered this this as one of the most romantic movies of all time.
So timeless is the romance that Sleepless in Seattle, made in 1993, revolved around this movie. The character Annie Reed [Meg Ryan] and
her friend make references to AFTR and there are clips and dialogues from AFTR which appear all over the movie.
Anything as famous as AFTR had to come to Bollywood, sooner or later. So, in 1965 Ramanand Sagar re-wrote this with a role reversal of the two main leads in the movie titled Arzoo. Rajender Kumar as Gopal plays a doctor who meets Usha[Sadhna] in Kashmir during one of those yearly skiing events. They fall in love and decide to marry, but tragedy strikes as Gopal meets with an accident and loses his legs. He voluntarily walks out of Usha’s life so as to give her a better life. Finally, in the end sequence Usha sees him again, with the crutches, in a similar skiing contest, and accepts him despite his handicap. All this happens after a whole lot of tear-jerking moments and sacrifices from Feroz Khan who plays Gopal’s friend.
Anyways, Inder Kumar anad Ashok Thakeria took it up to themselves to remake this movie again, retaining the original plot of a playboy painter. In 1999 they came-up with Mann, starring Aamir Khan as the painter Dev, and Manisha Koirala as his love quotient Priya. When the first few sequences were being shot in a ship a rumour spread that Titanic was being remade. But Mann was a blot in the name of AFTR. It did not retain the spirit of the original and the screenplay was tampered with the induction of unnecessary characters like Neeraj Vora[Nattu, Dev’s side-kick], Rani Mukherjee and Anil Kappor in guest appearance. The comic sequences of Dev and Nattu marred the movie, and the romance came undone due to some sleepwalk acting by Manisha. The music by Sanjeev-Darshan was the only saving grace of the movie. The grandmom sequence with Sharmila Tagore lacked sensitivity and warmth, it seemed like a gimmick. All in all, it was crass.
9. Memento – 2000 : A movie about anterograde amnesia [short-term-memory-loss] was made by Nolan brothers. The movie starred Guy Pearce who played an insurance fraud investigator. During a burglary his wife is killed and he is hit hard by severe psychological trauma where-in he is incapable of making new memory and his memory lapses every 15 minutes. He devices a method to recall things, he walks around with a polaroid camera and shoots every image and makes detailed notes about the person/place which can help him in recognizing them later. He is on a search for the killer of his wife. How he finds the killer with all the various clues forms the rest of the movie.
AR Murugadoss picked up the idea and the original plot of this movie, added the usual Indian tadka with songs, romance, violence, revenge
and came out with Ghajini in 2005, in Tamil. Surya essayed the role of the STML patient who was out there looking for a man named Ghajini, to avenge the death of his love Kalpana[Asin]. I dont think there is need to write anything else.
Inspired by the success of this movie, Murugadoss wished to remake this movie in Hindi. He roped in Aamir Khan, tweaked his screenplay to
remove some of the glitches like the double-role of Ghajini etc, asked Aamir to work-out and develop 8 packs to make the action sequences look believable. In 2008, the movie was released by the same name Ghajini. The rest is history, the movie raked in 200 crores in 2 weeks. By the way, I thought Aamir was brilliant in the movie. He brought out the angst of the character very well. The romance between him and Asin was refreshing, and Rahman’s music gave a flair to the movie.
Let me end this by saying that Aamir Khan has made quite a few movies based on literary works. His famed debut with QSQT was straight out of Shakespeare’s Romeo and Juliet, 1947-Earth was the movie adaptation of Bapsi Sidhwa’s novel ‘Ice-candy Man’. And his next movie ‘3 Idiots’ is based on Chetan Bhagat’s ‘Five Point Someone’. I hope they expand the horizon of that movie to include the educational system machinery and expose the flaws.
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This post was first published on PFC
As is customary, this Akshaya Tritiya too, I showed up at a Tanishq store to purchase the yellow metal in all its demand and glory. Very cleverly I timed my arrival at around 3pm, so I would face minimal rush. There was a huge crowd of people at the jewellery sections, but I just wanted to purchase a gold coin; no rush there.
There were just a few people, given the timing. I purchased a 10 gram gold coin of 24 karat; and it cost me 20,000+. For the past few years I have been purchasing gold coins on Akshaya Tritiya, so I went back and checked the previous bills.
In 2008, the same coin cost me 13,000+
In 2009, it cost me 16,000+ and now 20,000+
So, what does this say? Just the simple fact that gold is a great investment. Considering my 2008 purchase, the value has gone up by 50% and considering my 2009 purchase, the value has increased by 25%. So, there has been a consistent rise in prices by 25% every year.
No investment, except property and real estate, gives such high returns. If the money is locked up in FD’s or EPF’s, then too a 13,000 rupee investment would have given me 15,200 at simple interest of 8.5% and 16,000+ at compound interest of 8.5%. But 8.5% is a thing of the past, as of now 6.75% seems to be the norm for FD’s.
A friend of mine has been buying 1 gram gold every month, for the last 5 years. Instead of placing the amount in recurring deposit[RD], he buys gold. So, his 1 gram purchased in 2005 for 950/- is now worth 1950/-. Taking 1 gram for every month, in a year he bought 12 grams of gold. His investment of 11,400/- in 2005, is now worth 23,400/-. More than double!
Though gold rates too have their ups and downs, but being a precious metal its value will always be on the rise. Even if the value falls in future, the gold purchased can be used for making jewellery, all we need to pay is making charges and wastage; but not the price of gold. So, its a good investment overall. In fact, online trading has enabled trading in bullion as well. People are buying gold in their demat accounts, that seems to be the future. All that glitters is not gold, but all that is gold will always glitter.
Update 1: Its May 2011, and this year too I purchased another 10gm coin and it cost me 24000+. A jump by 20% when compared to 2010. Gold prices just keeps appreciating.
Update 2: Its Apr 2012, and this year too I purchased another 10gm coin and it cost me 30000+. A jump by 25% when compared to 2011.
Guilt and fear kills a man many times before his actual death. Its not easy to live with guilt, and its even more difficult to live under the shadow of fear that people may get to know the real you. There have been times when we may have done something illegal/unethical/immoral and we wish no one gets to know of it. We tend to hide things more out of fear of losing what we have and add to that, disrepute that it may bring.
As a common person if we feel so insecure about the skeletons in our cupboard, imagine what a celebrity must be going through. Someone who is always in the public gaze, who thrives on fans generosity, who loves the limelight, who makes a living out of being a darling of the crowds; what would happen if such a person were to be caught in an act of indiscretion?
The movie starts off exactly from this point. It can widely be divided into two occupations: writers and celebrities. Two writers, one aspiring to be a journalist and the other a journalist, want to capture the lives of two celebrities; but they are separated by a chasm of 15 years. While the writers in both cases change, the celebrities whom they want to write about are the same.
Lanny and Vince are a celebrity duo, a comedy team, who perform live. In 1957, both of them perform at a telethon in Miami to raise money for the cause of polio. After the successful show, they fly back to their hotel suite in Atlantic City. But soon after their arrival, a dead body is found in the bath-tub of their hotel suite. The dead body is that of Maureen, a stewardess in the Miami hotel where the duo had stayed.
15 years later, in 1972, a writer named Karen sets out to ghost-write an autobiography for Vince. But everything comes unstuck when the telethon is mentioned. Vince asks Karen to totally ignore Maureen and that incident. Or if it has to be mentioned, it could be a passing remark; more as an afterthought.
So much is at stake, the price-tag which the publishing house is paying Vince for the autobiography, the popularity and image of the stars and the love and respect that they have earned. Vince cannot let Karen undo all that he has built over his lifetime. Karen’s struggle to get to the truth is what the movie is about.
The movie has quite a few interesting twists that keep you engaged. One of them being that, while in Miami, Maureen, an aspiring journo, had requested the duo for an interview which she wished to publish it in the magazine of which she was an editor. What happened after that, nobody knows whether she ever got to interview the stars. Another absorbing scene was the chance meeting of Karen and Lanny in a flight where the fidgety journo spontaneously impersonates her friend to keep her identity secret and extract some information from Lanny.
The non-linear time-frame of the movie makes it tough as well as interesting to watch. The movie keeps switching between 1957 and 1972. The inseparable duo, back in 1957, are together no more. Both leading their separate lives, past the glory days. What transpired between the two? Why did they part ways? Why and how was Maureen killed?
The murder mystery is the only thing what keeps us interested. And that is a big negative because we stop feeling for Lanny and Vince altogether. The movie should have tried to capture what the two celebrities were going through, how their lives had been affected by the incident. They are leading a guilty life, guarding a secret about which no one should know. But what is that secret? Of course, spelling out the secret could mean ignominy and allegations of murder, but isn’t it better to get it out than live in fear! The movie is as much about Maureen & Karen, as it is about Lanny & Vince.
Kevin Bacon as Lanny Morris is just about ok. I don’t know why, but all through the telethon I kept imagining Jim Carey in his role. Somehow, the comical scenes were not done well by Bacon; he was good with the drama though. Colin Firth as Vince Collins wasn’t anything worth mentioning. He played the character flat-out and nonchalantly. He did not suit the part, I felt. Alison Lohman as Karen was also unconvincing. There was no sense of fear or apprehension in her acting. In a tight intense movie, which is largely carried on her shoulder because she is trying to unravel the mystery, the actress has got to be good in emotional scenes, but Alison was disappointing.
The movie is worth watching only for the directorial aspect of Atom Egoyan. He also contributed in the screenplay department, but since the movie was being made from a previously published book of the same name authored by Rupert Holmes, I am sure not much must’ve changed in scripting. The movie was structured well and setup was good, but due to a weak script most of it comes undone.
The movie had tremendous scope to show both the sides of celebrity status, one where Lanny & Vince are mobbed by people during their hey-days and other where nobody cares where the duo are and what they are upto. How life changes after the spotlight moves to the next rising stars and how celebrities go into hibernation could have been captured. There was enough potential for some great comic moments during the telethon, but it was not well-scripted. There were abrupt bursts of laughter and some silly gags which did not make me laught at all. Also, the camaraderie that Lanny and Vince shared, was also pretty dreary. I couldn’t feel the bonding, it seemed forced. And my biggest grouse against the movie was the frontal nudity. I felt there was no reason for such explicit scenes, it did not bring out either intensity or aggression to the movie. Overall, watch the movie for Egoyan and his narrative, really good.
Piyush Mishra has carried forward from where Sahir had left-off. In his mesmerizing words he reminds what a worthless life it is and what worthless causes we are chasing at our own expense. He also makes a reference to Iqbal’s sitaron ke aage jahan aur bhi hai beautifully.
O ri Duniya…
Surmayi aankhon ke pyaalo ki duniya
Satrangi rangon, gulaalo ki duniya
Alsaayi sejon ke phoolon ki duniya
Angdayi todey kabootar ki duniya
Karvat le soyi hakeekat ki duniya
Deevani hoti tabiyat ki duniya
Khwahish me lipti zaroorat ki duniya
Insaan ke sapno ki, niyat ki duniya
Yeh duniya agar mil bhi jaye to kya hai
Mamta ki bikhri kahani ki duniya
Behno ki siski, jawani ki duniya
Aadam ke Havva se rishte ki duniya
Shayar ke pheeke lafzon ki duniya
Ghalib ke, Momin ke khwabon ki duniya
Mijaazon ke, un inquilabon ki duniya
Faiz, Firaq-O-Sahil-O-Makhdoom, Mir ki, Zauk ki, Daagon ki duniya
Yeh duniya agar mil bhi jaye to kya hai…
Palchhin me baatein chali jati hain
Palchhin me raatein chali jati hain
Reh jata hai jo savera vo dhoonde
Jalte makaan me basera vo dhoonde
Jaisi bachi hai, vaisi ki vaisi bacha lo ye duniya
Apna samajhke, apno ke jaisi utha lo ye duniya
Chhut-put si baaton mein jalne lagegi, sambhalo ye duniya
Kat-pit ke raaton mein palne lagegi, sambhalo ye duniya
O ri duniya…
Vo kahey hai ki duniya ye itni nahi hai
Sitaron se aage jahan aur bhi hai
Yeh hum hi nahi hai, vahan aur bhi hai
Hamari har ek baat hoti vahin hai
Humey aitraaz nahi hai kahin bhi
Vo Aalim hai, Faazil hai, honge sahi hi
Magar falsafa ye bigad jata hai jo vo kehte hain
Aalim ye kehta vahan Eeshwar hai
Fazil ye kehta vahan Allah hai
Qatil ye kehta vahan Eesa hai
Manzil ye kehti tab insaan se ki
Tumhari hai tum hi sambhalo ye duniya
Yeh bujhte huay chand basi chiraagon
Tumhare ye kaale iraado ki duniya…
Have been listening to the music of Raavan non-stop. I had tweeted quite sometime back that rahman+gulzar = magic; and that’s coming true again. The album has been an overwhelming experience with some fantastic and fresh sounds that haven’t been heard before. Rahman’s musical notes and Gulzar’s thoughtful lyrics make for a great listening experience.
Let me start with the controversial topic of maoism/naxalism. Like Dil Se, Bombay and Roja, Mani Ratnam has picked up another socially relevant theme for the silverscreen. I loved his terror ravaged trilogy and this time around I am hoping that he has got it right again. The theme of naxalism is sprayed around by Gulzar in a strong yet poetic charm in two of the songs.
I shall first discuss the comical song Kata kata bechara bakra which is fun to begin with, but has the references to naxalites. The theme of the song is age-old, of a man getting married and hence being called ‘bechara bakra’ ready for the chopping block.
kata kata bechaara bakra kata kata bechaara
mana mana le khair maanale aakhari raat kuwaara
But soon after that follows these words :
dulhe miya dulhe miya dand-vand pelo
dulhe miya chhodo joru jhaarkhand le lo
The village folks ask the guy to do some body-building [dand-vand pelo]; forget about his wife and chase the cause of ‘jharkhand’. Gulzar slips in the message with such subtlety. The song has a beautiful earthy feel with Sapna Avasthi and Ila Arun bringing the Rajasthani folk flavor and turning it into a celebration of sorts. This is only the second time that Sapna Avasthi has sung for Rahman, 10 years after Chaiyya Chaiyya, and she still sounds as energetic as she was back then. Although the credits mention Kunal Ganjawala, his voice is totally lost amidst so many voices in the chorus.
Umeed ko aag laga zara
Sehra ki pyaas bujha zara
Ghan itna baras ke galne lagoon
Mei paani ke upar tarne lagoon
A man missing his sweetheart very badly, that’s what the song is about. It also speaks about the deep bonding and love between two inseparable beings. It has the feel of emptiness that is expressed beautifully in words and perfect pitched voice of Karthik.
Shart lagi hai mar jaane ki
Jeena hai toh pyaar mei
Dil kahin bhi ho mera
Jaan rakhi hai yaar mei
Behja behja hai saagar ka kehna
Behja behja hai nadiya ko behna
Coming back to the theme of naxalism, there is another song Thok De Killi which has been powerfully sung by Sukhwinder Singh. Its a scorn against the caste/class barrier, about the have’s and have-nots. It first describes the condescending look that the upper caste/class people give to the downward trodden:
Sabko ghoore aankh dikhaye
Tanashahi kare daraye
Oh baakad billi hey
And then, the song goes on to say that no one has ever discussed the problems of people below poverty line.
Aaja milke baithe
Haal sunaave dil ka
Kela woh khaate hain
Humko phenke chilka chilka
The despair of being teased as ‘backward’ is brilliantly penned in the song. The instrumentation is fabulous and the drum beats are that of an uprising against this class/caste barrier.
Pichde pichde keh ke humko
Khoob udaye khilli dilli
Sehte sehte ab toh
Gardan ghar rakh kar jaate hai
Choti ho gayi kabren
Bin mundi hi mar jaate hain
The gross violence inflicted against the backward castes by the upper-caste is very well described in the last 3 lines of the above stanza. It speaks of the gruesome acts of terror where people are beheaded callously and the body being buried while heads are being tossed out. Such a painful act of violence has been put down so effectively. I am sure the movie will capture the essence of the song well.
sadiyon se chalata aaya hai
unch ninch ka lamba kissa
abb ki baar hisaab chuka le
chir ke le le apna hisaa
apna khun bhi laal hi hoga
khol ke dekh le gaal ki jhilli
And finally, the vengeful act of the maoist is spoken about. How they have decided to take law in their own hands and settle the score. The song will remain with you for long, that’s for sure. This is one of the best songs of the movie, but unfortunately people will soon forget all the stanzas and only the start will be hummed.
Another song which will remain with you for long is Ranjha Ranjha Kardi Vey. A perfect song tailor-made for Rekha Bharadwaj to lend her vocals melodiously. Originally written and sung by Bulle Shah, we have had many versions of this including Abida Parveen’s. Its a part of folk legends and this time Gulzar picks up this one.
Ranjha ranjha kardi vey mai
Aape ranjha hoyi
The song has a rustic rhythm and folksy feel to it. Rekha does complete justice to the song. Its a sad romantic song that describes the woes of love and the look out for that elusive lover who is nowhere to be seen.
Waqt katata bhi nahi
Waqt rukta bhi nahi
Dil hai sajde mei magar
Ishq jhukta bhi nahi
The pangs of separation is evident in the musical notes. And the soft singing adds to the sadness. Although I believe that Sonu could have done a better job because Javed Ali has a hollow voice which does not emote much. There is no expression in his voice and that is one reason I have never been able to like Jashn-e-bahara song for Jodha-Akbar.
There is another romantic number Khili Re rendered by Renee Bharadwaj. That’s the weakest song for me. Haven’t liked it much until now. Its a song very typical of Rahman and reminded me of Sawariya Sawariya Mai To Huyi Bawariya from Swades; it has the same soft feel to it.
Finally, I come to the new-age Raavan named Beera this time around. A naxalite out to fight against the system.
Beera ke dus maathe
Beera ke sau naam
Chhede jo beera ko
Dhama dham dham dham
The reference of dus-maathe could be about having a brilliant mind that does organizing, planning, plotting, communicating, executing the plan; all in one go. And the sau-naam would well be the many aliases that he is known by, just my guess of the interesting lyrics. The song has a lot of African drum-beats which gives it the much needed energy and aggression. At around 3 mins length, I felt it was short. I wished it was long 7-8 minute piece, but nope.
The album is a sure-shot success with great sounds, superb lyrics, fine instrumentation and some inspired singing. A great album indeed.
By the way, I got some clues on the storyline of the movie. If you can recall Khalnayak, its on those lines is what I can make of it. Madhuri Dixit aka Ganga is chsing Sanjay Dutt aka Ballu, while Ram is on the lookout for both. And when Ganga finally returns, she has to give her testimony in court to prove her innocence, much like Sita had to do after returning to Ayodhya. The difference is that, in Khalnayak , Ganga did not get kidnapped. In this movie, the leading lady gets nabbed by Beera. Another new addition is the presence of an emissary in the form of Govinda., the man who knows the jungle terrain inside out. This angle was not there in Khalnayak.
But I am sure it will not be this simple, Mani Ratnam definitely has some other plans; maybe a few twists in the storyline will make it interesting. Whatever it is, I am waiting for the movie to release. Desperate to watch it. Till then, let me immerse myself in the soundtrack of the movie.
kata kata bechaara bakra kata kata bechaara mana mana le khair maanale aakhari raat kuwaara dhik dhik thaak dhin, jaaye na joru bin joru abhi kamsin, kanya ko bulaao dulhe miya dulhe miya dand vand pelo dulhe miya chhodo joru jhaarkhand le lo gaya gaya ek aur gaya re gaya gaya bechaara mana mana le khair maanale, aakhari raat kuwaara hawa pe chalti hai yeh chhori paro se bhi halki hai re dahi se bhi khatti hai suna hai dahi bhi woh kal ki hai re gaya gaya ek aur gaya re gaya gaya bechaara dhik dhik thak dhin jaaye na be joru bin joru abhi kamsin, kanya ko bulaao dulhe miya dulhe miya dand vand pelo dulhe miya chhodo joru jhaarkhand le lo rang thaaro kaashani uthe rang chadhaave na tu na kaalo na tu kaaga, kankar maare kaun abhaaga une koyi daraave na... gaya gaya ek aur gaya re gaya gaya bechaara mana mana le khair maanale, aakhari raat kuwaara woh na gori na anguri bohaari lagaaiyo na jijo kyun banaave chaakar, jiji ganga bhari si gaagar unke ke raani banaiyo haan... kata kata bechaara bakara, kata kata bechaara mana mana le khair maanale, aakhari raat kuwaara chhoto koi devar hoye toh, chhaati laagiye aur saas sasur ke aadar kije paye laagiye jeth jethaani samjhaave toh maathe raakhijo re aur nand sakhi saheli jaisi saath raakhije re o chhori sun saath raakhije re.... dhik dhik thaak dhin, jaaye na joru bin joru abhi kamsin, kanya ko bulaao dulhe miya dulhe miya dand vand pelo dulhe miya chhodo joru jhaarkhand le lo hawa pe chalati hai yeh chhori, paro se bhi halki hai re dahi se bhi khatti hai suna hai, dahi bhi woh kal ki hai re gaya gaya ek aur gaya re gaya gaya bechaara mana mana le khair maanale, aakhari raat kuwaara dhik dhik thaak dhin, jaaye na joru bin joru abhi kamsin, kanya ko bulaao badi beere badi beere shaadi jaldi karna dulhe miya dulhe miya, godhi jaldi bharna gaya gaya ek aur gaya re gaya gaya bechaara mana mana le khair maanale, aakhari raat kuwaara yeh gaya re gaya ek aur gaya gaya gaya gaya gaya bechaara ek aur ek aur ek aur gaya bechaara ek aur gaya, ek aur gaya, ek aur gaya bechaara dhin tanak dhin... dhol nagaade bajaake le gaya, dhun suna shahnaai re dhole baja ke Music Review Of Raavan
khili re khili re khili re khili re raat ki raani chumo sawariya phir se basuriya bheeni baasuriya honto se phuko re bheena badan mora bheena bheena hai badan mora aaja piya aaja haathon se chhuna re surila badan mora surila surila badan mora aaja piya aaja piya re piya re piya more aa raat ki daari kab se jhur rahi hai re daariyon ki godi bhar ja saari raat mehki hai saari raat behkegi sej suhaani kar ja hothon pe rakh ke phoonk basuriya tan bar tan bhar ja aaja re aaja samay abhi hai kohare mei thehara hu Music Review Of Raavan
Annkhon mei jaan
O ho ho o ho hohooo
Beera ke dus maathe
Beera ke sau naam
Chhede jo beera ko
Dhama dham dham dham
Beera Beera Beera Beera Beera
Arre beera uthti aandhi
Beera ek Toofan
Saanson mei ugli agni
Beera jalti jaan
Jalti jaan jalti jaan jalti jaan
Janam na pooche
Jaat na pooche
Poocho jo pehchan
Beera ka abhimaan hai
Abhimaan hai abhimaan hai Beera
Beera Beera Beera Beera Beera
Dhana dhan dhan dhana dhan dhan
Beera ke dus maathe
Beera ke sau naam
Chhede jo beera ko
Dhama dham dham dham
Beera Beera Beera Beera