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Mai

2013-02-09 12:32:00 (читать в оригинале)

There are innumerable heartbreaking stories of children cutting off all ties with their parents in their ripe age. Ill-treating parents, enrolling them at old-age homes, avoiding them, abusing them, even torturing them during the sunset of their lives... the behavior is despicable, appalling and disgraceful. How does the modern world treat its elders? Why do kids push their parents -- who need all the love, care and attention -- into the dark alley? MAI... raises the disturbing issue of a distressed mother discarded by her son.

A subject like this isn't new for the Hindi screen. ZINDAGI [Sanjeev Kumar, Mala Sinha], AVTAAR [Rajesh Khanna, Shabana Azmi] and BAGHBAN [Amitabh Bachchan, Hema Malini], besides several films, have dealt with elderly parents being neglected by their children. In those films, the senior citizens were mistreated by their kids. In MAI..., the mother is reluctant to admit that her son has discarded her and is embarrassed to stay with her daughter and son-in-law. Therein lies the difference!

The premise may be archaic -- elderly parents being neglected/ignored/mistreated by their family -- but it's relevant even in this day and age of nuclear families and children who don't think beyond themselves. Apparently, the subject matter [screenplay: Manoj Tapadia and Mahesh Kodiyal] demands a sensitive storyteller and director Mahesh Kodiyal executes the material with extreme sincerity and sensitivity.

MAI... banks heavily on the emotional quotient, making you think about the woman who helped her son take the first steps, but the ungrateful son deserts her when she needs to take her last ones. Loaded with emotions, with heart wrenching situations, MAI... is a sincere attempt at telling an uncomplicated story with straightforwardness, with episodes that tug at your heartstrings.

MAI... is about a woman [Asha Bhosle] suffering from Alzheimer, who is tossed between her four children. The only son, who she had great expectations from, isolates her the moment he lands a job in a foreign country. The two youngest daughters try to run away from the responsibility too. The eldest daughter, Madhu [Padmini Kolhapure], a woman of substance, takes a stand against the wishes of her husband [Ram Kapoor] and daughter takes the responsibility of tending for her.

As time progresses, Mai's health deteriorates. The family life of her daughter is in shambles due to the prevailing tension with her husband. However, Madhu balances her disgruntled family and work pressure, until, one day, the condition of her mother forces her to quit her job. At this stage, the relation between Mai and her son-in-law takes a miraculous turn, which changes his life forever.

In this era of new-age cinema and experimental themes, MAI... may come across as an old-fashioned tale, with cliches aplenty, but some subjects can never go out of fashion. The tried and tested formula continues to work despite contrived scenes and situations, if handled with dexterity. That's one of the prime reasons why MAI... works -- the expert handling by its director. Rich in emotions, the film never deviates into unnecessary sub-plots, which explains why the focus remains on the core issue.

Downers? The run time could've been shorter, with Kodiyal doing away with a couple of sequences and songs. Also, a few sequences don't leave much of an impact, perhaps because they seem too predictable. Besides, one of the vital points in the screenplay -- the change of heart of the son-in-law -- seems abrupt and far from convincing. There had to be a strong reason, which is missing here.

Cinematography deserves special mention, mainly because a major chunk of the film is shot indoors [in a home, in this case]. Dialogue are straight out of life and sound so real.

Asha Bhosle, who makes her acting debut with MAI..., surprises you with a controlled, refined, truly wonderful performance. She lends a lot of credibility to her character and makes it seem so genuine. Padmini Kolhapure is supremely efficient, while Ram Kapoor handles his part with flourish. Note Ram's outburst in an inebriated state. His contribution to several sequences is truly wonderful. Both, Padmini and Ram contribute enormously to the dramatic moments, which, frankly, would've fallen flat if entrusted to amateurish actors.

Anupam Kher is perfect in a cameo. Naveen Kaushik, enacting the part of the son, doesn't get much scope, while Shivani Joshi, who plays Padmini and Ram's daughter, is alright.

On the whole, MAI... is an honest attempt. It moves you on several occasions thanks to its emotional quotient, but it needs a strong word of mouth and patronage to sustain from its target audience -- the families.

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I Me Aur Main

2013-02-09 12:32:00 (читать в оригинале)

EXPECTATIONS

One expects a peppy soundtrack for I, Me Aur Main, considering the fact that the movie is a romcom with a Hollywood styling to it. Though John Abraham is currently being seen in action roles, a film belonging to romcom genre could well thrown in some surprises. This is what one looks forward to as this Sachin-Jigar album plays with a few guest composers (Falak Shabir, Gourov Dasgupta, Raghav Sachar) coming up with a song each.

MUSIC

The album takes a heady kick-start with 'Naa Jaane', a new version of the namesake track from Sridevi's Chalbaaz, the major difference being the fact that the centre of attraction is John Abraham this time around. One has to give it to Sachin-Jigar for coming up with a highly addictive version of their own as they go all out in making sure that the song has in it to be hugely popular in clubs and the dance floors. They turn around the entire song, courtesy Kausar Munir's lyrics, and other than the core hook, everything is different about this one. Neeraj Shreedhar and Anushka Manchanda have a major role to play in making sure that the song is naughty, peppy, saucy and just the kind that has in it to make it really big if promoted well. One just hopes that this one finds place in the film's narrative instead of end credit rolls!

It's an altogether different outing for a listener with newcomer Falak Shabir coming up with a very good song. He sings and composes 'Saajna' and one has to admit that he does a very good job in both roles. Though one may argue that his voice is on the same lines as that of Atif Aslam, all said and done, Falak makes it all count and ends up delivering a song that can cover a very good distance, especially with the 'unplugged version' holding on well too. A love song with a hint of pathos and some good lyrics by Kumaar, it brings in further variety and makes one really look forward to what I, Me Aur Main has in store next.

Sachin-Jigar return on the scene with the title song that is presented as 'Capuchino'. Totally different from a namesake track from Kya Super Kool Hain Hum, this one is a club number with John Abraham as the centre of attraction. Based on the film's theme with singer Abhishek Nehwal going all out in self-appreciation of the central protagonist, it also shows a different side of lyricist Neelesh Mishra who has clearly let his hair down with this one. Though one waits to see the kind of inroads that the song eventually manages to make amongst the youngsters, it has to be admitted that one is hooked on to the album by now.

There is further variety in store as Sachin-Jigar come up with a situational track 'Darbadar', the opening of which reminds one of 'Iktaara' [Wake Up Sid]. A song that comes with a good mix of Indian folk, classical and Sufi, it also showcases Monali Thakur in a different light who has otherwise been quite popular as 'Zara Zara Touch Me' girl. This time around she goes totally Indian for a song which holds well as a standalone track and has a classy feel to it. A special mention for the chorus that add further zing to Mayur Puri's lyrics and come up with the kind of rendition that could be well suited for the film's pre-climax.

Next to arrive is a love song 'Meri Jaaniye' which has been put to tune by Gourov Dasgupta. With a Western setting to it and an Indian melody taking it forward, this Manthan written song has Shaan and Monali Thakur coming together behind the mike. Though this one pretty much falls into the template of a quintessential modern day love song, it still is a good inclusion in the album as it tries to bring in something different for a listener. Also, it is good to see Monali wear a different hat for this one and step into a Western avtar.

Neha Baseen, the ex-Viva girl, goes solo with 'Nasha Nasha' that has a seductive appeal to and a rhythm which goes well with the song's genre. Surprisingly the song was heard earlier in the film Daddy Cool and one wonders how this one found a place in I, Me Aur Main. In fact it was a song that had seen a music video as well with the quartet of Sophie Chaudry, Aarti Chabaria, Kim Sharma and Tulip Joshi gyrating to it. Nevertheless, one enjoys it all over again as this Prashant Ingole written Hinglish number boasts of a good composition by Raghav Sachar. One waits to see its music video in the context of I, Me Aur Main.

OVERALL

I, Me Aur Main is a good album that throws in a pleasant surprise. Though one had expected the soundtrack to go well with the film's genre, presence of as many as 3-4 numbers that come with the potential of being instant chartbusters or 'lambi race ka ghoda' add further weight to the album. Now one looks forward to the kind of promotion that the album enjoys since the composers, lyricists and singers have done their bit in making their contribution count.

OUR PICK(S)

Naa Jaane, Saajna, Nasha Nasha, Darbadar

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ABCD - Any Body Can Dance

2013-02-09 12:32:00 (читать в оригинале)

EXPECTATIONS

There are good expectations from the music of ABCD - Any Body Can Dance. After all, when the movie's very genre and setting itself cries of dance and music, the least you expect is the soundtrack to be impressive. It does seem like that as well on paper at least, what with composer duo of Sachin-Jigar pairing up with lyricist Mayur Puri. Their collaboration also results in a music heavy album comprising of nine tracks. However one key element goes entirely missing - 'Promotion'.

MUSIC

The album kick-starts with a devotional track 'Shambhu Sutaya' which is symbolic in ways more than one. A track with Ganpati as the central element, it is an unconventional beginning that the album gets with Shankar Mahadevan and Vishal Dadlani coming together. An interesting fusion track that has Western arrangements with an element of rock taking forward this situational number, it comes with good energy and takes you back in the 80s.

What is conventional though, albeit quite interesting, is 'Bezubaan'. A very well worded song with some good arrangements and the flow of composition, 'Bezubaan' soaks you in with every passing minute and by the time you are through hearing it in entirety; you are already in mood to play it all over again. Mohit Chauhan and Priya Panchal come together for this track that starts off rather slowly and then picks up pace after 80 odd seconds. This one should look stunning on screen!

The way 'Psycho Re' begins, you know that the song is basically catering to Prabhudheva fans. With South flavour pretty prominent from start till the finish of the song, what with 'Ratti-Patti', 'Rascala' and more filling in the tune, it is the one for the streets. Though Mika Singh and Udit Narayan (it is rather surprising to see him getting a second billing though) are in good form here and get the right ferocity in their vocals that compliment the mood of the song, it is basically aimed at the gentry and doesn't have much shelf life beyond the play of the film.

'Man Basiyo Saanwariyo' turns out to be a very interesting piece though as one can see Sachin-Jigar coming into their own with this one. Hinting of another beautiful, though pretty much ignored song that they had composed in Hum Tum Aur Shabana, 'Piya Kesariyo', this one is a good fusion track that catches your attention in the very first listening. A club track which has just the right voice in the form of Anushka Manchanda (who had incidentally also sung 'Piya Kesariyo'), 'Man Basiyo Saanwariyo' has a seductive element to it that also sets it apart from the rest. This one should have been promoted long back!

After 'Psycho Re', yet another situational number that makes an entry into the album is 'Chandu Ki Girl Friend'. Yet another song that reminds one of a similar outing from Hum Tum aur Shabana, 'Thank U Mr. DJ', this one is a conversational song with multiple singers coming together in the form of Raman Mahadevan, Jigar Saraiya, Divya Pushkarna, Sagar Kendurkar and Madhav Krishna. A fun track that should definitely bring on smiles as it plays on screen; it is a good experiment that could have benefited from some aggressive promotion.

All such fun is followed by a much pensive 'Duhaai' which could well be the one set for the pre-climax of the film. Madhav Krishna is the one roped in for this song that has a haunting feel to it and is mainly situational in appeal. Though one can't expect the song to cover much distance as a standalone number due to its very theme and setting, expect some visual appeal enhancing its prospects in the film's context.

The song that has thankfully started seeing some good promotion coming its way is 'Sorry Sorry'. A fun number where Jigar Saraiya brings himself behind the mike, it is a catchy track which gets on track at the very kick-start and doesn't take time in picking on the momentum. This is a kind of number that should ideally have become popular amongst kids by now.

It's the jingle of 'Twinkle Twinkle Little Star' that one gets to hear at the beginning of 'Kar Ja Re Ya Mar Ja Re' which is clearly a dance number in the offering. After a rather haunting beginning, it picks on pace and ends up making a thrilling impact. If supported by grand visuals, this Suraj Jagan rendition boasting of some poetic lyrics by Mayur Puri should make its presence felt in going with the film's storytelling.

The song that turns out to be quite an interesting piece (and also a fitting finale) is 'Sadda Dil Vi Tu (Ga Ga Ga Ganpati)'. One associates Hard Kaur with a particular genre and setting of songs, and the last choice could well be a Ganpati number. Well, surprises never fail to cease as she gets into her characteristic self while hailing the Ganpati. A highly addictive piece that has the kind of rhythm and beats that make you groove along even as you are hearing it for the very first time, one wonders what made the makers refrain themselves from unleashing this one long time back.

OVERALL

ABCD - Any Body Can Dance is a good music album which is genre specific and goes with the kind of narrative that the film demands. Okay, so it doesn't have the kind of chartbusters that go in the conventional sense of affairs. However with an opportunity like this, some measures could well have been taken to bring the songs some visibility. In this case though the songs have arrived just a week before the film's release which is hardly going to help the album make any major impact in physical or digital format. Sad, but true!

OUR PICK(S)

Bezubaan, Sadda Dil Vi Tu, Sorry Sorry, Man Basiyo Saanwariyo

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Vishwaroop

2013-02-09 12:32:00 (читать в оригинале)

EXPECTATIONS

Vishwaroop is in news, and unfortunately for all the wrong reasons. While one still waits to find out what really is the story that is causing all the mayhem, surprising the music is being kept out of circulation. One can attribute this to the fact that as a film, this isn't quite a musical in the offering. Still, with Shankar-Ehsaan-Loy being roped in as the composer trio and Javed Akhtar as the lyricist, one would have expected better pitching of the music.

MUSIC

As it turns out, the music isn't a pushover at all as the title song 'Vishwaroop' begins in a manner as ferocious as it can get. There is a definite force that the song arrives with and Suraj Jagan does well in bringing to fore its true essence. Of course the overall style and the lyrics are the kind that goes with the South mode of introducing superheroes. This also means that while pan-India audience for the song is ruled out, it should aid the visuals in a major way, especially if one gets to evidence that in the 'remix version' as well.

There is a hint of title song from Don which kick-starts 'Jung Hai'. A quintessential Shankar-Ehsaan-Loy club number, this one has Benny Dayal beginning the proceedings in his English rendition. A kind of number that is basically targeted at gaining an international feel to the film's setting, it has Shankar Mahadevan joining at just the right time and adding an extra zing with his vocals. Overall though the song stays on to be strictly situational and has its stay restricted to the film's narrative.

Same is the case with the classical 'Main Radha Tu Shaam'. Rendered by Kamal Haasan who is actually quite good in the way he goes about setting the prelude, the song has Shankar Mahadevan arriving on the scene soon enough to complete the scenario. With Hamsika Iyer and Sharmishtha Roy as the additional vocalists, this one is quite different from the songs preceding it due to its out and out Indian feel and arrangements.

The song which arrives last is actually the best of the lot as 'Koi Kahin' brings the pensive mood and feel of the situation in the film quiet well. A kind of number that is driven in a major way via its lyrics, 'Koi Kahin' narrates the tale around how hatred and suspicion is driving all the more miserly in the world. In fact this number, which has Hindi as well as the English portions, could well be a reflection of the situation that Kamal Haasan is facing in real life today. As a singer too, he does well along with Nikhil D'Souza.

OVERALL

As it turns out, Vishwaroop turns out to be primarily a theme album with the songs catering to the situations in the film. Though one can't expect any major sales to be lifting its fortunes musically, as a part of the film's narrative they should turn out to be good enablers.

OUR PICK(S)

Koi Nahin, Vishwaroop - Remix

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Sidharth Malhotra to star in Ekta Kapoors Villain

2013-02-09 12:32:00 (читать в оригинале)

Student Of The Year actor Sidharth Malhotra is surely going places after his impressive debut last year. After bagging Hasee Toh Phasee (which is co-produced by Phantom Films and Dharma Productions), Sidharth has now been signed by Ekta Kapoor's Balaji Motion Pictures for a romantic-action film to be directed by Mohit Suri.

The film, tentatively titled Villain, will see Sidharth as an angry young man on a love mission. Sidharth will be seen doing some heavy-duty action sequences in this film that goes on floors in August this year. The female lead is however yet to be finalized.