Posts Tagged ‘Gulzar’

‘Matru Ki Bijlee Ka Mandola’ music review – ख़ामाखा का doubt

Posted: December 22, 2012 by moifightclub in bollywood, cinema, film, music, Music review, reviews
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Light play, clever shooting angels, or whatever people might be waiting for, when Vishal Bhardwaj announces a film, there is a breed of people that waits for the music of his film because even if it is ‘7 Khoon maaf’-ish, the music album comes packed with a lot of ‘Gulzar Goodies’. Save for the mess that the music release of the film created, we really can’t complain much because as someone wise once remarked ‘If it’s worth the wait, then shut up!’

1. Matru Ki Bijlee Ka Mandola – Sukhwinder…O Sukhwinder! You have done so much on the same lines already, yet you make it sound all so easy and peppy! Excellently arranged and marvellously penned, the song gives a lesson or two to some ill-fated idiots who think in order to sound catchy (and in order to use the name of the film in a song) they have to have an ‘item’ to endorse it. The splendid African weaving in between (with a continuous guitar note in the background) gives the song a certain amount of class that is always missing when it comes to halkat sheilas who are talking about munnis all the time. The bass effect that ‘stops and starts’ gives just the adequate thump to the song. 2 Thumbs up!

2. Khamakha – Beautiful ‘evening’ guitars, accompanied by a coral like backup group (with African lyrics?), excellent bass and, and, and Vishal Bhardwaj! Sung like a madly in love ‘aashiq’, this is easily one of the best arranged songs by Vishal ever. The simple yet never so beautifully expressed habits of those in love (sleeping by the window, for example) are a forte of Gulzarsaab. What amazes simple listeners like us is his ability to convey love every time in the simplest manner without EVER repeating words. Anyway, the end of the song, the last 1 minute and 14 seconds of the song, tell us why there is an ever-growing army of hopeless romantics who wait for a Vishal Bhardwaj music album. The song is pregnant with a range of varied emotions that haven’t been explored before. The note on which the song starts and the note on which ends will tell you exactly what we are talking about. 3 Thumbs up!

3. Oye Boy Charlie – ‘Singerwala Shankar Mahadevan’ starts the song and the song shoots higher thanks to Rekha Bhardwaj and Mohit Chauhan. There is a bit of saxophone and then there is a bit of nasal Shankar Mahadevan (that is just too good!) and then there is a good amount of ‘motorwala mouth organ’ in between along with good guitar. ‘Vishal purists’ might not like the song much because there is an element of cacophony in between, where you feel VB is trying too hard to arrest your attention by throwing in too many elements altogether. There are way too many elements that I missed in the first hearing. It is a fun song with an element of ‘Jhoom Barabar Jhoom’ and ‘Kajra re’ and ‘Satrangi re’ and some comedy and this and that!

4. Lootnewaley – Sukhwinder and Master Saleem start the song. If you play the song with the ‘Awara’ expectation from Master Saleem, you will be a tad disappointed. Sukhwinder emotes better than Saleem to convey the anger. The track is serious. The words are direct and effective. Clearly, a revolution is being hinted. At times chaotic (which may be intentional), the song won’t set music charts on fire. You might argue that any other set of singers could have done the same job as Sukhwinder or Master Saleem have done. The fantastic possibility that these two names promised is clearly missing. How we wish they were exploited better!

5. Sha ra ra – Prem Dehati starts the song again with the typical mela like music arrangement. The brass bands sing along with the singer to elevate the effect of the song. A very short track that begins and ends leaving the brass bands in your mind.

6. Badal Uthiya – The track starts beautifully with Prem Dehati echoing at a distance and then the music setting takes a completely contemporary turn with generous dose of sitar in between. Rekha Bhardwaj does a splendid job (What’s new?) with this track and even though the Prem Dehati version of the song is my favorite, this track can’t be sidelined at all. Rekha Bhardwaj in her typical ‘soul drugged with romance’ voice makes it very hummable.

7. Char dina ki – A Haryanvi kickass item that just elevates the level of the album and how! Excessive usage of brass bands and some real catchy lyrics ensure that it has a very roadside feel. The beginning of this track has shades of ‘chicha leather‘ from Gangs of Wasseypur. Pankaj Kapur, Prem Dehati and Imran Khan go behind the microphone for this and clearly Mr. Kapoor is having fun like only he can. Excellent track! (Mind it – ‘Char dina ki chamak chandni’ will linger in your head…shart laga lo tau!)

8. Chor Police – A fun recitation by Pankaj Kapur with heavy dose of political wrongdoings that the elected government has been committing. Ends with a splash! Back up vocals, brass band and excellent tempo ‘waali’ claps is what make this track up…good one!

9. Nomvula – African track it may be, but this composition has fun written all over it. If you aren’t one of the ‘I don’t understand the words so I won’t automatically like the song’, then you will like it. A very ‘by the beach with beers’ feel. Really what’s music got to do with language?

10. Badal uthiya (Reprise) – There are few good souls that are trying their best to give the masses a taste of the sheer variety that Hindustani classical offers. This song is an addition to that effort. Prem Dehati accompanied with excellent sitar and a contemporary music arrangement hold your soul hostage. The words, the pronunciation of the same, the stillness, the sadness, everything has traces of God particle in it. If you didn’t know, God particle is generally defined as a song/composition that has mastery of Gulzar saab and Vishal Bhardwaj in it.

11. Lootnewaaley (Reprise) – A strong vocal demonstration against the shrewd landlords, Sukhwinder leads the backup singers in what sounds like a ‘lagaan-like’ track, feel wise. Word rich and music light. The track is clearly banking a lot on the visuals. It isn’t musically as structured as the other version. Clearly a circumstantial song.

Including the recitations and other titbits is the new ‘in’ thing for Hindi film O.S.T these days. Strictly ‘song-wise’ speaking, Khamakha, Badal Uthiya (both versions but Prem Dehati version), title song and Oye Boy Charlie are the ones that will remain with us and that’s a lot of them! We missed the mandatory ‘Have Vishal, so Suresh Wadkar will sing’ song.

An album that benefits (like all of us!) with the presence of Gulzar saab and showcases the obvious abilities of Vishal Bhardwaj, the composer. Also, those having silly doubts on Gulzar saab (Ref: JTHJ) have gone missing and how! ख़ामाखा का doubt, वो भी अल्लाह पे? हट पगले!

– Post by @Rohwit (who is currently देहाती.)

Tera Bayaan Ghalib – Ghalib Ki Bayaani, Jagjit-Gulzar ki Zubaani

Posted: February 28, 2012 by moifightclub in music, reviews, songs & videos
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One of my favourite albums of all time is Gulzar-Pancham. I bought the cassettes first and then the CDs. The 2-CD pack is compilation of songs written by Gulzar and composed by R D Burman. But what makes the album special is the introduction to every song by Gulzar. We all know that he can weave magic with words. But the way he narrates it, the way he pours out every bit of nostalgia in his narration, it creates an intoxicating mood. Years later he did another similar album – Amrita Pritam recited by Gulzar. The magic was still the same. And now, there’s a new album – Tera Bayaan Ghalib. Here’s Rohit‘s recco post on the same.

Anything, be it a new song or a poem recitation or a book release or a film by Gulzar sahab guarantees that it will have an aroma of freshness and nostalgia in it. This music album quietly made it’s way into the mind space and thanks to Pavan and Sa Re Ga Ma’s online store I could get a hold of the original tracks.

First up, please know that this is not a ‘tribute to Jagjit Singh’ sort of an album by Gulzar sahab. It goes a step further. Gulzar sahab has convinced Jagjit Singh to sit and recite/sing some lines for all of us and what tribute do we want anyway? Jagjit Singh is still there. Very much there. Gulzar sahab has read/recited Ghalib’s letters enacting as Ghalib and it is NOT a commentary on him. It’s a fact that we can’t get enough of Gulzar sahab‘s voice and when you hear him modulating his voice and enacting Ghalib, you will feel the words with him.

Since the album is aimed at giving a peek to all us in the life and times of ‘Ghalib’, Gulzar sahab has plucked many a gems from his TV Serial on Ghalib in the voice of Ghazaljit Singh.

The album starts with a track that was featured in the TV serial (but wasn’t available in music cassettes or CDs). After this, Gulzar sahab recites some couplets from Mirza Ghalib. The mithaas in his voice will remind you of the times when you were dipping your senses into your favorite food and talking about your favorite person. The album then turns to GhazalJit Singh’s rendition of ‘Har ek baat pey’. The difference (nitpickers like me will notice) is a faint note on the keyboard in the background which is unlike the versions already available with us all. This version ends where GhazalJit Singh ends the recitation in the original.

It won’t be fair to give out the flow of what Gulzar sahab discusses in the album because it will spoil the mood of anyone who listens it. So I won’t go into much detail. All I will say that there is a difference between telling and narrating. Gulzar sahab narrates. Beautifully. Many a times you won’t be able to realize that the ghazal has started and the narration has stopped. It’s all in the same fabric. Like for example, there is a part where Gulzar sahab is talking about the ‘patang baazi’ of Ghalib and the melodious flute makes an entry and GhazalJit Singh recites a line of ‘woh firaq aur wo visaal kahan’.  Listen how dearly and affectionately Gulzar sahab goes about telling us why Ghalib chose Ghalib and not ‘Asad’ as his pen name. GhazalJit Singh comes again to recite the beautiful couplet ‘Dost gham’ (which wasn’t available earlier in Music cassettes or CDs of the serial).

Using Ghalib’s lines to create the atmosphere of the old times is a great idea and GhazalJit Singh’s voice comes as a compliment. You can’t help but feel that it’s completely unnatural to live in a world where GhazalJit Singh is no more. The album is full of those unreleased nazms/couplets in the voice of GhazalJeet Singh.

The narrative spans across life and times of Ghalib including the 1857 and how Ghalib shut himself out during that period. And how Delhi was never the same, more or less like Ghalib. There is a lot of pain, especially when Gulzar sahab touches the ‘7 deaths’ in Ghalib family…of all his kids.

Towards the end of the album when Gulzar sahab speaks about old age, the depth of his narration will move you, and on top of it Jagjit Singh’s (unreleased) nazm might move you to tears. You will get goosebumps when you will come across the famous Ghalib composition ‘sab kahan kuch’ because Gulzar sahab accompanies Jagjit (Ghazaljit Singh) in the same. This is Gold. Probably purest form of Gold.

This is not a music album. It’s a melodious session with Gulzar sahab and GhazalJit Singh full of conversations, nazms and ghazals. Anyone with a mild inclination towards Gulzar sahab/Ghalib or GhazalJit Singh will find this album a treasure. A treasure which you will hold on to forever.

You are likely to come across a lot of familiar ghazals in this album but the difference is – this time you live the ghazal rather than just listening to it.

Buy it.

Album : Tera Bayaan Ghalib

Label : Saregama (2-CD pack)

Price : Rs 300 ( Available at Flipkart for Rs 255)

(Rohit blogs at http://almostareview.wordpress.com/)

VOTD : Gulzar remembers Jagjit Singh – Ek Bauchhaar Tha Woh

Posted: February 15, 2012 by moifightclub in music, News, video, VOTD
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Gulzar Pays tribute to legendary singer, Jagjit Singh, with a nazm that is included in the new album, Tera Bayaan Ghalib. The album features letters of Mirza Ghalib recited/enacted by Gulzar and Ghalib nazms in the voice of Jagjit Singh.

एक बौछार था वो शख्स
बिना बरसे
किसी अब्र की सहमी सी नमी से
जो भिगो देता था

एक बौछार ही था वो
जो कभी धूप की अफ़शां भर के दूर तक
सुनते हुए चेहरों पे छिड़क देता था…
नीम तारीक से हॉल में आँखें चमक उठती थीं

सिर हिलाता था कभी झूम के टहनी की तरह
लगता था झोंका हवा का है
कोई छेड़ गया है..

गुनगुनाता था तो खुलते हुए बादल की तरह
मुस्कुराहट में कई तर्बों की झनकार छुपी थी

गली क़ासिम से चली एक ग़ज़ल की झनाकर था वो
एक अवाज़ की बौछार था वो

And here’s a look at the booklet that comes with the album.

Tip – Pavan Jha

2011 Rewind – 11 songs we played in non-stop loop

Posted: December 15, 2011 by moifightclub in bollywood, cinema, music, songs & videos, Special, video, Year end special
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The year is about to end and since the world is busy making the top ten lists, we thought why should we be left behind. We are scooping all the best lists from across the world here.  Or just scroll down and see under the tab “what we are reading”. We are starting our 2011 Rewind series with a post on the songs/albums of the year.

There are hit songs, there are chartbusters, flop songs, cult hits and then there are the songs which we played in non-stop loop. Sometimes for few hours, days, weeks or even months.  And it’s not easy to dissect why a specific song got you hooked so much. Read on to see if you agree, disagree and if you played the same songs in non-stop loop this year. In no particular order.

1. Bekaran (7 Khoon Maaf) – Ek baar toh yun hoga, thoda sa sukoon hoga. Na dil me kasak hogi, na sar pe junoon hoga...It started with these four lines.  And i was hooked.  And it ended with anothem gem of a word ‘Lillah’, which slowly became a part of our dictionary. At a time when twitter asks you to be smarter and put everything in just 140 characters, you can say so much in just one word -“Lilaah“. With Vishal Bharadwaj’s voice and Gulzar’s words, it was love, longing and goose flesh all over.

Extra Playlist – Tere Liye in Suresh Wadekar’s voice and the haunting Yeshu in Rekha Bharadwaj’s voice. Well, play the entire album in non-stop loop.

2. Kun Faaya Kun/ Dichotomy Of Fame (Rockstar) – The name is A R Rahman. I am not sure where and how to start. Will say the same thing which i keep on saying – if i ever convert to Islam, blame it on Rahman. If Piya haji ali (Fiza), Khwaja mere khawaja (Jodha Akbar) and Maula maula (Delhi 6) weren’t enough, he added one more to the list – Kun Faaya Kun and this one i played in non-stop loop for days. Though Kun faaya was the starting point, the album had another beautifully arranged instrumental piece –  dichtomy of fame. A blend of shehnai and guitar created a haunting mood.

Extra Playlist – Play the entire album.

3. Yun Hi (Tanu Weds Manu) – I discovered the film and the album quite late. Realised  that this is the best musical debut of the year – Krsna (music director) and Raj Shekhar (Lyrics). The laidback charm in Mohit Chauhan’s voice almost works everytime but there is a danger of getting repetitive. Krsna and Raj Shekhar made sure that they didn’t fall in the trap.

…Kitne dafe hairaan hua, main ye sochke,
Uthti hai ibadat ki khushbuyein kyun mere ishq se,
Jaise hi mere honth ye choo lete hai tere naam ko,
Lagey ke sajda kiya, kehke tujhe shabad ke bol do,
Ye khudai chodke,
Fir aaja tu zamin pe,
Aur jaa na kahin,
tu saath reha ja mere,
Kitne dafe dil ne kaha,
Dil ki suni kitne dafe…

Extra Playlist – Rangrez, Piya, Manu Bhaiya, Jugni and Saddi Galli. Aha, another album where you can play all the songs .

4. Hawa Hawai (Shaitan) – Like this music review of Shaitan, almost all other reviews missed this Hawa Hawai remix. Because strangely, the song wasn’t available for download. So all those who downloaded the music and reviewed it, had no clue about it. The twang in Suman Shridhar’s vocals and Mikey McCleary’s arrangement added a new zing to the song.

Though after the film’s release, it was a completely different story. Everyone was just googling Khoya Khoya Chand sequence and if you have seen the film, the reason is quite obvious.

5. Saigal Blues (Delhi Belly)  – Though Mikey’s work got noticed, another superb effort by Ram Sampath went completely unnoticed. Chetan Shashital, the man who can do wonders with his voice, went behind the mike to create the Saigal Blues.

…is dard ki na hai dawai…..majnu hai ya tu hai kasai..

Extra Playlist – Switty switty, Ja ja ja chudail

6. Senorita (Zindagi Na Milegi Dobara)  – This album is Shankar-Ehsaan-Loy’s only saving grace in recent times. The song captures the casual, boisterous and celebratory mood of the Spain and Tomatino fest so well. And the use of  untrained voices of Farhan, Hrithik and Abhay made it look natural and completely  impromtu. Add to that, those perfect pauses.

Extra playlist – Khwaboon ke parindey

7. Saibo (Shor In The City) – This came as a complete surprise. The song and the film. Shreya Ghoshal’s melliflous voice and Tochi Raina’s husky vocals leaves a powerful impact. Music – Sachin-Jigar. Lyrics – Sameer/ Priya Panchal.

Extra Playlist – Karma is a bitch,

8. Main Ek Bhanwara (Sahib Biwi Aur Gangster) – Music by Amit Sial and sung by Shail Hada,  this one is an under-rated gem. A melodious track, the song instantly takes you back to the time when dhoom-dhaam noise wasn’t considered music.

9. Hona Tha Pyaar (Bol) – Purists still don’t believe that Atif Aslam can sing. But you can’t dismiss his voice so easily. There is something charming about the way he sings, though besura most of the times. This song is again one of the least played songs of the year. Heard it on FM radio first and then found out that the song is from the Pakisani film Bol.

10. Uh-ho Uh-Ho (Mujhse Fraaandship Karoge) – This album marked the bollywood debut of musician Raghu Dixit. As if the film’s title isn’t weird enough, this track is called uh-ho uh-ho. I never expected anything good from Y Films but this peppy number sung by Ash King and Shilpa Rao hooked me instantly.

11. Ban Gaya Kutta (Pyaar Ka Punchnama) – I have never laughed so much during a song. Had to play the song few times to get the lyrics and they smartly play with some of the words. Music and lyrics by Luv Ranjan and its sung by Mika.

What am i missing? What’s your non-stop loop playlist? Do let us know in the comments.

Gulzar Special : Libaas – an unseen experience. Hear it now!

Posted: August 18, 2011 by moifightclub in bollywood, cinema, Gods of Cinema, songs & videos, Special
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This is an old post by Pavan Jha. And since it’s Gulzarsaab’s birthday, we thought it would be nice to revisit it with the post. All thanks to @p1j who also runs the website GulzarOnline. Experience it NOW!

Libaas remains one of the most special Gulzar movie for me. Its an Unseen film for me, still I can feel the film like any other films that I have seen. I have read the film [It is based on a short story of Gulzar titled “Seema” published in Ravi Paar] and I have also “heard” the film [thru the songs and dialogues on cassettes]. It was almost as good as seeing the film…

The intensity of script and characters can be felt in the dialogues. Three main characters Sudhir [played by Naseeruddin Shah.. brilliant again as a Theater Director who puts work as the top priority and treat relationships as secondary], Seema [Shabana Azmi, the rebel wife of Naseer, She is more of a character for his director husband than a wife] and TK [Raj Babbar, an old friend of Naseer, [total contrast to Naseer’s character] who visits Naseer after a long time and woos Shabana. He is more of a bubbly and charming character].

The story starts with a theater group, which Naseer is struggling to setup. Shabana is Naseer’s wife and is also the leading lady in his production. The film starts on a lighter mood with a few funny moments with Utpal Dutt (dubbed by Johnny Lever after his death), Anu Kapoor and Naseer.

Utpal Dutt introduces the leading characters in the opening scene…

“Drame me bhi miyaan-biwi ke role karate hain aur ghar pe bhi wahi..bore nahin ho jaate ek hi role karte karte”…

For Naseer, Theatre is life, much more than anything else..

“Khana banana bhool jaaogi to bardasht kar loonga par apni line bhool jaaogi to kabhi maaf nahin karoonga..”..

Though Shabana behaves like a subordinate all the time, she has other demands too from the life.. One of the most important scene of the film speaks all….

Shabana (at home) : Main baal katwa loon.. chhote karwa loon, achhi lagoongi..

Naseer : to hayvadan ki padmini ka kya hoga, aur khamosh adalat ki leela bainare ka?

Shabana : Matlab Padmini aur Bainare mujh se jyada important hain..Mujh mein hamesha apne characters hi dekhte ho.. Kabhi mujhe bhi dekha hai?

Naseer : Are tumhare andar to saara jahaan dekhta hoon

Shabana : Dialogue mat bola karo har waqt.. tumhare liye to mujh se jyada theater important hai na.. I know if you have to choose between theater and me.. you would choose theater.

Naseer : Seema, theater sirf tumse hi nahin, mujhse bhi jyada important hai.. ham dono baad me aate hain, aur theater pahle

..an introduction to the characters completes with the entry of Raj Babbar, a businessman and an old friend of Naseer…

Shabana : Bada hi betakalluf dost tha aapka, is tarah to pahale kisi ko nahin dekha aapke saath…theater me to sab subordinates ki tarah behave karte hain

The story develops and restricts to the three main characters, their egos, the bondage and the break in relationships. The focus is on the character of Shabana.

Naseer : Ghar me rahti to ghar bore karta tha, theater me ho to theater bore karta hai.. Hamesha wahaan rahna chahti ho jahaan nahin ho, aur jahaan ho usase kabhi khush nahin ho.. You always want to be somewhere else, not where you are.. and you even don’t know where you want to be

Shabana stops doing theater and starts spending time with Raj Babbar..

Gulzar saab like a master craftsman draws parallels between the characters of his film and Mohan Rakesh’s Adhe Adhure using the play being prepared by Naseer and his theater group..

Also the scene where Naseer comes to know about the affair between Shabana and Raj Babbar, and he talks about it with Raj-Shabana is brilliantly handled.. (atleast it “sounds” so).. What happens next should be left undiscussed, hoping the film would release some day..

Music makes Libaas more special film.. It was the last film that Panchamda did with Gulzar saab… Also it was only the second and the last time Panchamda sang with Lata [for kya bura hai kya bhala]…Music of libaas is a kind of a sequel to Ijaazat. The album contains only 4 songs, all top class, including a superb Pancham composition “Sili Hawa Choo Gayee”, a typical gulzarish song, beautifully rendered by Lata. “Khamosh sa afsana” a duet by Suresh and Lata, “Phir kisi shaakh” is the next version of “Khali haath shaam aayee hai” in the mood and rendering, and “Kya bura hai kya bhala” is a lively group number [a bit of qawwali touch]…

Libaas was never released in theaters though it was shown in a International film festival of India in 1992.

“Jitne bhi tay karte gaye, Badhte gaye ye faasle

Meelon se din chhod aaye, saalon si raat leke chale”

We all hope it will see the light of the day.. some day… amen!

Vishal Bhardwaj, Ranjan Palit, 7 Khoon Maaf – what we are still reading

Posted: February 26, 2011 by moifightclub in bollywood, cinema, movie reviews, News, songs & videos, video
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This is not going to end so soon. We started with this post, Varun wrote this one, and Subrat took the Mir route with this post.

And in this post we are putting out some of the interesting links that we read recently…VB, Ranjan Palit, 7KM, Ismat Chugtai, prosthetics and more.

 

Time Out’s Nandini Ramnath did an interview with 7 Khoon Maaf’s cinematographer Ranjan Palit. To quote…

In an interview with Time Out in 2009, Palit declared, “I wouldn’t do a Bollywood song and dance film even if I were paid a crore.” Famous last words, it seems.

Click here to read the interview.

Pratim Das Gupta of The Telegraph also interviewed Palit after the release, much longer and a better interview….what he shot, how he shot and why he shot it that way….To quote…

I had to try and make sure that the prosthetics couldn’t be seen. I think there were around seven-eight prosthetic parts stuck on her face in the aged avatar. She would be made up for four hours every day. So, I was asked to shoot in such a way that those parts were not seen. But you can do that in an interior night scene, what do you do during the daytime? We had decided that we would correct that with computer graphics but it’s hugely expensive and tough to spend so much money after the shooting is done….

…..You know what, I first saw a two-hour-45-minute version. It was then cut by 25 minutes for the final theatrical version. In that cutting, some of the finesse, some of the moments got lost. Maybe the rhythm has also slightly suffered. That director’s cut was beautifully paced….

….People in Mumbai have shown interest in working with me right from the time the 7 Khoon Maaf trailer came out. Boley na, jaatey uthey gechhi! But there’s no existing filmmaker apart from Vishal with whom I want to work. I am a snob that way. I appreciate what (Anurag) Kashyap does. bolley, hoyto korbo. I am not dying to work with anybody. I am dying to work with Vishal again.

Click here to read the full interview.

And if you are bored of the long and meandering reviews, then Nisha Susan of Tehelka has packed the Seven Course Meal in short  and sassy new way. To quote…

+7 FOR THE ISMAT CHUGHTAI moment when PC and Irrfan make an elephant under their lihaaf. 10 for naming the Russian Vronsky and Susanna reading Anna Karenina.

+8 TO NEIL NITIN MUKESH
for waving a phallic stump at Priyanka. Minus 9 points to Neil for setting our teeth on edge a la Kangana whenever he speaks English.

The film scores 98 invaluable points and the point system follows no convention. Bring it on! Click here to read her piece, point-by-point.

If Tehelka is here, can Open be far behind ? Ajit Duara of Open has thrashed the film completely and rated it just 1 star. To quote…

What substitutes for motive is a dark lighting style;  as if to say that if you light a movie dimly enough, depth and hidden meaning will emerge. It never does, and 7 Khoon Maaf ends up as a hothouse of exotic spouses with names scratched off the catalogue at metronomic  intervals.

Click here to read the full review.

Open also has an interesting article titled – Inside the Mind of Vishal Bhardwaj.  His long time associate, co-writer, and the director of Ishqiya, Abhishek Chaubey describes the filmmaker, from his Makdee days to 7 Khoon Maaf. To quote..

After Makdee was made, Vishal called me to a theatre in Juhu. Gulzarsaab and his friend Shivam Nair were also there. Makdee had been made for the Children’s Film Society of India (CFSI). They had rejected it outright, claiming all sorts of problems with it—“Badly directed, badly shot.” He wanted us to see if that was really the case. We all thought their reaction was extreme.

Then Vishal did something courageous, given that he was just a music director then, and not the sort with 20 songs in the bank that he could give producers when they’d come to him. He had worked on very few films. As a producer, he was nobody. And yet, he decided to take the CFSI head on. He told them, “If you don’t like the film, I will buy it off you.” He must have paid Rs 20–30 lakh. He put everything at risk. We completed Makdee and went around town selling it…..

….Vishal had the letter he got from the CFSI framed, and it is still on his wall. It’s right in front of where he sits. Not only was Makdee released, it also won an award at a children’s film festival in Chicago. ‘Courage’ is too goody-two-shoes a term for it. It takes balls.

Click here to read the full piece.

And the last link is a video. Click on the play button to hear Gulzar dissect his own words…the poetry in 7 Khoon Maaf.

Pic Courtesy – Time Out Mumbai

ये साहिर की मैयत उठने से पहले की बात है – Gulzar on Sahir & Jadu

Posted: February 12, 2011 by moifightclub in bollywood, Special
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As always, thanks to Pavan Jha.

First Look : Rakeysh Omprakash Mehra’s production Teen Thay Bhai (Poster & Trailer)

Posted: February 10, 2011 by moifightclub in bollywood, cast & crew, film, first look, pics, Trailer
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Rakeysh Omprakash Mehra is back after the debacle of Delhi – 6. But this time as a producer.

Teen Thai Bhai is produced by PVR Pictures and ROM. It stars Om Puri, Shreyas Talpade and Deepal Dobriyal. The film is directed by debutant Mrigdeep Singh Lamba. Lyrics are by Gulzar and music is Ranjit Barot and Sukhwinder Singh.

The film was earlier titled Mad, Madder, Maddest. The cast is interesting for sure but seems like the film is going to be slapstick.

 

 

“The sound of 7 Khoon Maaf – Let it grow on you” suggests Fatema Kagalwala

Posted: February 3, 2011 by moifightclub in cinema, music, reviews
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It is difficult to write a ‘review’ of the musical output of team VB-Gulzar. You generally listen with the heart and gut (and if you don’t then Lilaah!). The head is generally blissed-out by the perfection of lyricism and sounds so much so that even the imperfection melts in and doesn’t evoke question marks. So you understand my difficulties in writing a ‘review’. More so you wouldn’t be interested in reading if I just went by my gut and said, ‘Nahi boss, jama nahi.’ Or just gushed, ‘OMG, OMG, OMG, what genius!’ Jamta nahi na boss, so here is me trying my best to sound all knowledgeable and balanced, while blaspheming as I review VB-Gulzar. (Astagfirullah!)

Tere Liye – All of you, or at least most of you, have been going crazy about this one. So have I. It starts like ‘Ab mujhe koi’ but as it unfolds becomes totally something else. It is a soft, mellow ditty that matches Suresh Wadkar’s vocals perfectly. The light, pretty, romantic lines are matched with the equally light, pretty, romantic music. It makes u imagine chiffon sarees and Swiss hills, soft focus, diffused sunlight and well, Lata Mangeshkar 🙂 but it isn’t superficial. It is tender and soaked in love, the kind, gentle, warm type. It makes you want to hold your love by the hand and slow dance till forever ends.

Or just –

Jado ki narm dhoop aur aangan mein let kar,

Aankhon pe kheench kar tere daman ke saaye ko,

Aundhe pade rahe kahi karwat liye hue’.

Know what I mean? Gulzar’s lyrics do that to you. Savour this –

Halksi sardiya aur saans thodi gram ho,

Shamo ki shawl bhi thodi si narm ho,

Tere liye kishmish chune, piste chune,

Tere liye,

Humne toh parindo se baagon ke saude kiye,

Tere liye…

The piano is beautiful. And then its mixed with santoor-like strains. Suresh Wadkar’s redolent singing takes you back to ‘Tumse milke’ but with a lovely blend of western and Indian, the song is unique in itself.

Dil Dil Hai – Suraj Jagan ROCKS! Young and very unlike the regular VB. Reminds you a bit of Emotional Atyachaar rock version. Maybe the way the bass guitar has been used but then its rock after all. It doesn’t really impress me but I like the adolescent rebellion. It’s not intense or angsty, even a little rabble-rousing type. But since I can’t say anything bad about VB I shall simply say it’s the weakest of the lot and let it remain here.

Yeshu – Love the haunting tone. The way the church bells ring, suggesting an impending terrible doom. Like heralding the rise of the dark world. Builds tempo and becomes absorbing, enthralling and like a black hole hurtling towards you. It has a distinct dystopian note to it despite the fact that it’s a prayer. This contradiction is interesting and gives it the intensity. Rekha Bhardwaj’s sensuality adds an undefined aura, a mixed emotion of yearning, pain, searching, confusion, hidden desires. You start off wishing it wasn’t a ‘prayer’ because you don’t want her singing chaste songs really but it is amazing the darkness she brings to an already sinister song. The over-powering orchestration builds in a fine momentum throughout till it gradually reaches this sustained crescendo. And then it doesn’t end with a bang but on a gentle note. With Rekha crooning and church bells echoing alone somewhere in the background. The loneliness is ever-so-beautifully established. Ever-so lingeringly sad…

Darrling – I listened to the Russian folk song Kalinka (composed in 1860) after I heard this one and got a little more besotted by VB. Listen to the original, its all over the net! Darling wins the top-spot in my list hands down. Its verve, its energy and absolutely lip-smacking folksy gusto. And then there is Usha Uthup. I can like anything she sings even without listening to it. And my heart is torn to pieces here as I admit I like Uthup’s energetic dominance more than Rekha’s rumbling romp. The former has a command and the latter’s earthiness comes in the way, for once becoming her un-doing. To my ears the combination kind of doesn’t add up and Uthup clearly wins my vote. So when she sings with her fiery irreverence ‘public mein sansani ek baar karne do!’ I just wanna say, ‘Be my guest, can I join you?’ 😉

Doosri Darrling – Starts with a collective vigour that is difficult not to tap your feet to. Makes you wanna get into groups and dance away till your feet fall off. This other version is loveable because it beautifully uses RB’s mellowness. So much so that Uthup sounds a little lesser here in comparison. And love the Pushkin bit! (WHERE does Gulzar come up with stuff like this? :))

Bekaran – L’ilaah! The intoxication of love! That is this nazm. Doobne lage hain hum… saans lene dijye na… yes, there is a sinking kind of ecstasy in the song, a dreamy smile that cannot be rubbed off. There is a slight crackle in the beginning which makes me want to imagine rain. VB does a perfect O Saathi Re again. The echoes in the background and the slightly mis-matched mixing is ever-so delectable. Again contemporary rhythms are used so well even as there is a light retro feel very reminiscent of 70’s ghazals which were pure melody.

Awara – Very mood song! Has a typical banjara feel and Master Saleem’s fakir-like singing bathes the Sufi song with emotion. The music is desert-tribe Arabic with its gypsy instruments mixed palette of a rousing orchestra. Will have you swaying from the time it kicks in. Its cyclical, repetitive rhythm with Saleem’s wanderer-voice is trance-like…makes me want to step out of my skin and look at my body doing restive moves to it. There are strains resembling ‘Naina’ from Omkara, ‘Albela Sajan’ from Hum Dil De Chuke Sanam and vague resonations with ‘Satrangi Re’ from Dil Se. But the way my gut responds to it, these influences don’t take away from the originality or power of the song.

Na shaakh jude na jad pakde…Sounds scary but think about it, wouldn’t it be lovely if that were to happen in real-life? Free-floating all of us, with no roots, no need to be rooted…bliss-like, gypsy-like…The song ends on a fade-away…narrowing as much as it becomes expansive. Love the fade-away…

Tip – Play and listen to it while doing something else. It will grab you by the…collar 😉

Mama – Rock again! Again, adolescent. And this time the lyrics sound more so. Begins with a promise, somewhat light and innocuous. I prefer it to Dil Dil Hain but then to my ears, heart, gut and other music-responding organs it really is not that hot. Guess both the music and lyrics were done keeping John Abraham in mind 😉 Oh, btw Wiki bhaiyya tells me Mohanlal was to do JA’s role. Errr…wonder if this song would still be the same way then? It owes a sort of allegiance to the original baap of under-ground rock, ‘Khuda Hoon’ from Paanch, also by VB but doesn’t really hold a torch to the power or hotness quotient of that one. But then KK does a brilliant job and the rest of the song, well, flows. Remember I said I can’t say anything bad about VB? 😛

And just when I was gonna wind up, the acoustic version comes up and this slightly disappointing O Mama becomes a love ballad that drowns me. KK’s soulful singing and the tempered version transforms this one completely! I’d listen to this one over the rock version, given a choice.

Like most VB albums this one grows on you on repeat hearing. Like most VB albums this one also reveals its beauties on every hearing. As it is Gulzar’s lyrics never have you say enough, so all in all, ‘Hit hain boss!’

Hrrmmppphhhfff! So much for restrain!

7 Khoon Maaf – New song promo

Posted: January 14, 2011 by moifightclub in bollywood, cinema, music, video
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Though the music is still not out but a new song promo (Bekaraan) of 7 Khoon Maaf has been released. It opens with Irrfan Khan reciting two lines, which beautifully sums up the mood of the main character of the film – Ek baar to yoon hoga, thoda sa sukoon hoga…Na dil me kasak hogi, na sar me junoon hoga.. Who else but good ol’ Gulzar.

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