It's not even 7 am here in the US, but my snappy tune of the day is "Udi Baba", found at Boxes of Toys.
Showing posts with label Bollywood. Show all posts
Showing posts with label Bollywood. Show all posts
Udi Baba
It's not even 7 am here in the US, but my snappy tune of the day is "Udi Baba", found at Boxes of Toys.
Happy Birthday to You
This is the ultimate Happy Birthday production number, in fact I wish I could have a birthday exactly like this every year. Except for the part with the bagpipes, you can leave those out when you're planning my birthday celebration. In March. The 30th.
Found by Doug Spalding
Music From The Third Floor is dead. Long live MFT3F!
For the last four years PC has been posting around 200 Bollywood soundtrack rips along with 7 absolutely great volumes of personal favorites (get the last 7th volume one here) on the blog Music From The Third Floor. What an effort! And what a pleasure it has been to, that from time to time, visiting the blog and always find something new there.
Thank You for the music PC! Well done.
The last in line is Laxmikant Pyarelal's background score to 'Bobby'. Get it here!
Introduction by Raj Kapoor
Aar Paar
O.P. Nayyar - Aar Paar. Available thanks to Music From The Third Floor.
Geeta Dutt - Hoon Abhi Main Jawan
Here is a lovely clip from the movie with Shakila acting out "Babuji Dheere Chalna" (vocals here as well is from Geeta Dutt).
Uploaded by studpup
Peepli Live
Directed by Anusha RizviUTV Motion Pictures
The women of Peepli… well, there are no women in Peepli. Yes, there are daughters and mothers and wives, and to them Natha is purportedly “son and brother.” Natha is in dire straits; he has taken a loan from the bank and now cannot repay it. In an attempt to keep their lands from being auctioned off, Natha and his brother, Budhia, go to the local strongman cum political candidate for advice.
The politician recommends that one of the brothers commit suicide, for while the government does not provide debt relief or agricultural subsidies for farmers, it will give a sizable payout to the family of a farmer who has committed suicide. And therein lays their salvation. The family will have money and what have the two brothers done with their lives anyway? Let one sacrifice himself for the greater good.
Natha is a simpleton and his somewhat more savvy brother convinces him that since Budhia is the one who has a family, Natha must be the one to commit suicide—only he can save them all. Obligingly, Natha agrees. Later on that evening, after the brothers have drunk themselves into a stupor, a visiting reporter hears their story. The following morning’s headline foretells the death of farmer Natha and a media circus (as well as a political one) descends onto Peepli. The various parties and partisans push and pull, and attempt to decide whether or not Natha should live.
The three female characters in the film are all shrews. From Natha’s wife, who badgers and assaults the brothers, to his mother who complains and swears, to the reporter who appears to be unconscionably chasing leads, there is not a single positive female figure in the film. Inflation herself is a witch, wreaking havoc and ruining the farmers’ lives, leading them to their early graves.
Review by Elisheva Zakheim
The women of Peepli… well, there are no women in Peepli. Yes, there are daughters and mothers and wives, and to them Natha is purportedly “son and brother.” Natha is in dire straits; he has taken a loan from the bank and now cannot repay it. In an attempt to keep their lands from being auctioned off, Natha and his brother, Budhia, go to the local strongman cum political candidate for advice.
The politician recommends that one of the brothers commit suicide, for while the government does not provide debt relief or agricultural subsidies for farmers, it will give a sizable payout to the family of a farmer who has committed suicide. And therein lays their salvation. The family will have money and what have the two brothers done with their lives anyway? Let one sacrifice himself for the greater good.
Natha is a simpleton and his somewhat more savvy brother convinces him that since Budhia is the one who has a family, Natha must be the one to commit suicide—only he can save them all. Obligingly, Natha agrees. Later on that evening, after the brothers have drunk themselves into a stupor, a visiting reporter hears their story. The following morning’s headline foretells the death of farmer Natha and a media circus (as well as a political one) descends onto Peepli. The various parties and partisans push and pull, and attempt to decide whether or not Natha should live.
The three female characters in the film are all shrews. From Natha’s wife, who badgers and assaults the brothers, to his mother who complains and swears, to the reporter who appears to be unconscionably chasing leads, there is not a single positive female figure in the film. Inflation herself is a witch, wreaking havoc and ruining the farmers’ lives, leading them to their early graves.
Review by Elisheva Zakheim
Rajneeti
Directed by Prakash Jha
UTV Motion Pictures
The wait for a high-octane, all-engrossing drama just became longer. But that doesn't mean we don't have a decent watch in hand with Raajneeti. The setup is certainly complex and intriguing, and there are a couple of sly and conniving twists, no doubt. Yet depth is still missing, almost as if introducing the characters and their connections was an end in itself, and not merely the beginning nor the means to get there.
Given that the characters are based on Mahabharat, it would take real skill to make them uninteresting. In fact, if you focus only on that angle, you'll see even more curious amalgamations. It's best to leave these aside and just watch the film for what it is. Despite so much potential for complexity, the lack of details along with the creativity-challenged treatment of the situations can give you the heebie-jeebies. Some of the scenes, like the one in which a sundry woman gets pregnant, clearly didn't belong here. Nor do the on-the-face references to the mythological epic. It also would have helped to keep the Corleones, Gandhis, and Thackerays at bay. As glaring as they are, they only serve as distractions.
With the various connections and cross-connections, the film deserved a lot more in terms of flow from one sub-plot to another. Instead we get a "my turn-my turn" shout out by the characters whenever they were made missing-in-action for a bit. Prithvi's (Arjun Rampal) sudden eccentricity was almost meant to say that Arjun's otherwise wooden facial muscles can be chiseled into another form. Yet the usually plastic face of Katrina Kaif wasn't in this film, at least not in some parts, though all of you are going to see is a surreal vision of the diva in a sari.
This almost three-hour affair doesn't slacken, but doesn't keep you waiting for the next move either. Because somehow there's a foregone conclusion, given the epic characters the film is based on.
Review by Meetu
Excerpted from Wogma
UTV Motion Pictures
The wait for a high-octane, all-engrossing drama just became longer. But that doesn't mean we don't have a decent watch in hand with Raajneeti. The setup is certainly complex and intriguing, and there are a couple of sly and conniving twists, no doubt. Yet depth is still missing, almost as if introducing the characters and their connections was an end in itself, and not merely the beginning nor the means to get there.
Given that the characters are based on Mahabharat, it would take real skill to make them uninteresting. In fact, if you focus only on that angle, you'll see even more curious amalgamations. It's best to leave these aside and just watch the film for what it is. Despite so much potential for complexity, the lack of details along with the creativity-challenged treatment of the situations can give you the heebie-jeebies. Some of the scenes, like the one in which a sundry woman gets pregnant, clearly didn't belong here. Nor do the on-the-face references to the mythological epic. It also would have helped to keep the Corleones, Gandhis, and Thackerays at bay. As glaring as they are, they only serve as distractions.
With the various connections and cross-connections, the film deserved a lot more in terms of flow from one sub-plot to another. Instead we get a "my turn-my turn" shout out by the characters whenever they were made missing-in-action for a bit. Prithvi's (Arjun Rampal) sudden eccentricity was almost meant to say that Arjun's otherwise wooden facial muscles can be chiseled into another form. Yet the usually plastic face of Katrina Kaif wasn't in this film, at least not in some parts, though all of you are going to see is a surreal vision of the diva in a sari.
This almost three-hour affair doesn't slacken, but doesn't keep you waiting for the next move either. Because somehow there's a foregone conclusion, given the epic characters the film is based on.
Review by Meetu
Excerpted from Wogma
My Name is Khan Soundtrack
Sony Music
My Name is Khan is a Bollywood movie that captures the post-9/11 journey of a Muslim immigrant who has been diagnosed with Asperger’s Syndrome. The movie and its soundtrack by Shankar Mahadevan, Ehsaan Noorani, Niranjan Iyengar, and Loy Mendonca has remained at the top of the charts since its release in January.
There are six original tracks on My Name is Khan. The first song, "Sajdaa," is sung by Richa Sharma Rahat Fateh Ali Khan and Shankar Mahadevan. "Sajdaa" is the hip, happy song of this album, and brings a spring to your feet. The tracks that follow are the melodius "Noor E-Khuda, sung by Adnan Sami, Shankar Mahadevan, and Shreya Ghoshal then "Tere Naina," whose lead vocals by Shaqat Amanat Ali are an absolute delight to ears. The song praises the “eyes of beloved” and transforms into more traditional qawwali toward the end.
“Allah Hi Reham” is a concoction of Sufism and spiritualism that includes a four-minute solo sung by Rashid Khan. It's lyrics are the best in that the song stays longest in your mind. The titular theme performed by The Bombay Film Orchestra is mildly pleasing, but it could have been better. The album ends with "Rang De," sung by Shankar Mahadevan with Suraj Jaggan on accompanying percussion, and is the perfect close for this wonderful musical experience, as it is an inspirational tune that conveys the virtue of goodness and honor.
The disc also has four bonus tracks that reference the filmic history the stars of this movie (Shahrukh Khan and Kajol) have together: “Kuch Kuch Hota Hai,” “Suraj Hua Maddham,” “Kal Ho Na Ho,” and “Kabhi Alvida Naa Kehna.” The CD also features a video of the film's theatrical trailer. The album artwork is designed beautifully, like a manual. The pages have the storyline of the film, director’s notes, stills from movie, song lyrics translated into English, and a dedication to the people behind music.
All the songs on this soundtrack are a welcome change from your typical boisterous filmy pop. My Name is Khan takes a detour by embracing classical Hindustani music, and the elements from Sufism give the music a mystical touch. The lovely lyrics sung by soothing voices make these songs exemplary.
Review by Sunitha Jayan
My Name is Khan is a Bollywood movie that captures the post-9/11 journey of a Muslim immigrant who has been diagnosed with Asperger’s Syndrome. The movie and its soundtrack by Shankar Mahadevan, Ehsaan Noorani, Niranjan Iyengar, and Loy Mendonca has remained at the top of the charts since its release in January.
There are six original tracks on My Name is Khan. The first song, "Sajdaa," is sung by Richa Sharma Rahat Fateh Ali Khan and Shankar Mahadevan. "Sajdaa" is the hip, happy song of this album, and brings a spring to your feet. The tracks that follow are the melodius "Noor E-Khuda, sung by Adnan Sami, Shankar Mahadevan, and Shreya Ghoshal then "Tere Naina," whose lead vocals by Shaqat Amanat Ali are an absolute delight to ears. The song praises the “eyes of beloved” and transforms into more traditional qawwali toward the end.
“Allah Hi Reham” is a concoction of Sufism and spiritualism that includes a four-minute solo sung by Rashid Khan. It's lyrics are the best in that the song stays longest in your mind. The titular theme performed by The Bombay Film Orchestra is mildly pleasing, but it could have been better. The album ends with "Rang De," sung by Shankar Mahadevan with Suraj Jaggan on accompanying percussion, and is the perfect close for this wonderful musical experience, as it is an inspirational tune that conveys the virtue of goodness and honor.
The disc also has four bonus tracks that reference the filmic history the stars of this movie (Shahrukh Khan and Kajol) have together: “Kuch Kuch Hota Hai,” “Suraj Hua Maddham,” “Kal Ho Na Ho,” and “Kabhi Alvida Naa Kehna.” The CD also features a video of the film's theatrical trailer. The album artwork is designed beautifully, like a manual. The pages have the storyline of the film, director’s notes, stills from movie, song lyrics translated into English, and a dedication to the people behind music.
All the songs on this soundtrack are a welcome change from your typical boisterous filmy pop. My Name is Khan takes a detour by embracing classical Hindustani music, and the elements from Sufism give the music a mystical touch. The lovely lyrics sung by soothing voices make these songs exemplary.
Review by Sunitha Jayan
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