Kaashh… Mere Hote
Kaashh… Mere Hote
When a top composer (Shravan of Nadeem-Shravan fame) of an era gone by decides to become a film producer, the least you expect is a good musical score. Especially so when his own sons (Sanjeev-Darshan) are roped in as composers. However, in their near decade long career that has seen the duo composing for 15 odd films, Sanjeev-Darshan are still known mainly for their debut musical score - Mann. Of course some of the songs from their other films became popular too but if one looks at the music composed by them in last 5 years, they haven’t come with a single song that has a recall value attached to it. All these factors only make Kaashh… Mere Hote, which has lyrics by Sameer, an even more important project for them. Write your own music review of Kaashh… Mere Hote The album begins with a hardcore Punjabi track ‘Teri Naganee’ which has an authentic folk feel to it. Reminding of ‘Chori Chori’ [Garam Masala], its effect is enhanced in the manner it has been orchestrated which gets an urban feel to it that makes one head straight for that dance floor. Written and sung by Labh Junjua (who is supported by Tripti Sinha and Shweta Pandit), it could have an instant chartbuster appeal to it had it been picturised well with better production values. However, if one ignores this and just looks at this song in isolation, it has all in it to make it to the DJ’s list of favorites, especially with the faster paced ‘remix version’ concluding the album. default-300×250.tpl A new singer on the anvil, Shashank Singh Baba, is heard next and one can see an instant decline in the album with ‘Mehbooba’ based on the kind of tune which is an absolute passé. The lyrics too are set 20 years back and though Sanjeev-Darshan try to keep the pace up with the help of Western arrangements, they are hardly successful as the song fails to register any impact whatsoever. Shashank Singh Baba returns to do another solo in the form of ‘Teri Yaad’ which takes it’s inspiration from Himesh Reshammiya brand of music. In fact one can almost feel that Himesh would have been behind the mike for the song had it arrived a couple of years back. A love song about missing your loved one, ‘Teri Yaad’ is a much better track than ‘Mehbooba’ though still caught in a time warp. Shweta Pandit is heard next in ‘Kaashh Mere Hote’ which is the first song in the album to have a Sanjeev-Darshan stamp to it. Remember the music they created for the title song of Hamara Dil Aapke Paas Hai? A slow moving track with a melodic feel to it, it has a sad theme to it and is later heard again in the vocals of newcomer Shaurin Bhatt whose voice comes quite close to Udit Narayan. Though yet again, there is a certain expiry date that the song comes with since music in Bollywood films has seen a vast change in last 10 years, ‘Kaashh Mere Hote’ can be given a couple of hearing at the least. Shashank Singh Baba, who gets to sing his third song in the album, pairs up with Shweta Pandit for ‘Rim Jhim Sawan’. Yet again, it’s the same old story, and it seems that Shravan along with Sanjeev and Darshan had made up his mind that he would bring back the sound of the 90s. Nothing wrong with that but then the good intent doesn’t quite get the desired results as the outcome turns out to be just about OK. Shweta Pandit later gets to do a solo in the form of ‘Dil Ye Mere Dil’ which is set in an Indi-pop mode. Though the melody isn’t the first of its kind and can’t be classified as unique, it is still one of the better songs of the soundtrack. A soft track which moves at a leisurely pace and is unadulterated due to limited use of instruments, ‘Dil Ye Mere Dil’ is sweet and simple and should go with the childish image of leading lady Sneha Ullal. Suzane concludes the album with ‘Masti Bhara’ which reminds one of the sound that cabaret/seductive numbers carried in the late 60s/early 70s. A song that deserves a quick skip due to utter disinterest it manages to evoke in the listener, ‘Masti Bhara’ is truly unwanted, especially with lyrics like ‘Main Hoon Teri Raatrani’! There is just one way to describe the music of Kaashh… Mere Hote - Dated! Majority of tracks in the album are the kind that could have been well left 10-12 years back with the only songs making some impact being ‘Teri Naganee’ and to an extent the title song.
Source: www.bollywoodhungama.com
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Maharathi
Maharathi
Subhash (PARESH RAVAL) has spent the last 10 years unsuccessfully trying to get acting parts in films. He makes ends meet by his uncanny ability to think on his feet committing small time cons on unsuspecting victims. One night he saves a man’s life, to do so he puts his own at risk. He accompanies the injured man back home. Subhash is awe struck at the grandeur and affluence of Mr. Adenwalla. (NASSERUDIN SHAH) Subhash realizes this may lead to a generous tip. Soon enough Subhash is hired by the grateful Adenwalla as his driver. The wife Mallika Adenwalla (NEHA DHUPIA) resents Subhash for his proximity to her husband and senses this man taking advantage of her husband. Subhash now firmly ensconced in Adenwallas house and heart discovers his wife’s evil designs. On the other hand, Adenwalla, driven to the point of insanity by his money hungry wife decides to take the ultimate revenge. He puts his wife in a catch 22 situation by throwing down a challenge. Subhash recognizes this as an opportunity to rid him-self of a life time of middle class mediocrity and poverty. He collaborates with Mallika to acquire all the money and property. Working hand in glove, they get a caretaker (TARA SHARMA) with the help of their family lawyer (BOMAN IRANI) to be a witness to an ailing Mr. Adenwallas presence in the house which they concoct their plans. Several thrilling situations arise in their plan, ranging from false alibis, double-crossing, phony kidnappings to hidden agendas which wreck havoc all around. But even the best laid plans can go awry and this brings ACP Gokhale (OM PURI) and Inspector Borkar (VIVEK SHAUQ) into the picture. How the scheming Subhash gets trapped in his own lies and how he finally manages to save his skin, forms the crux of the story.
Source: www.bollywoodhungama.com
Rab Ne Bana Di Jodi
Have you ever stopped to think if the most ordinary, uninteresting, unobtrusive man you might see on the road or around you might have a love story to tell? Maybe not! How can an ordinary man have a breathtaking, goose flesh igniting, awe inspiring love story of all things to tell? But guess what - love does not differentiate between the ordinary and exceptional, the uninteresting and interesting, the unattractive and attractive. Because love knows no distinction. It can happen to anyone and once it does it engulfs us into it completely and gives us those miraculous experiences that only love can yield. This is what happened to Surinder Sahni (Shahrukh Khan) - a simple, clean hearted, honest man working for Punjab Power, leading a humdrum life, when he meets his total opposite and finds love in the flamboyant, fun-loving, vivacious - Taani (Anushka Sharma) for whom the whole world is her canvas and she paints her own life with the colours of rainbow all until unforeseen circumstances changes it all and brings them together. What follows is a journey filled with laughter, tears, joy, pain, music, dance and a lot of love. A journey that makes us believe that there is an extraordinary love story in every ordinary jodi.
Source: www.bollywoodhungama.com
The President Is Coming
“The President is Coming” is an English film and the first ever MOCKUMENTARY about New India. It is a comedy about young India’s ambitions and aspirations. With a style that is very tongue in cheek, the film takes a look at President George Bush’ visit to India in 2006 where he wanted to shake hands with 1 young Indian under the age of 30. The film is a humorous take on India Shining. It features 6 different characters who reflect the classic new India undergoing a gruesome contest to become the lucky winner to shake the President’s hand.
Source: www.bollywoodhungama.com
The Da Vinci Code
I am going to start out by noting that Ron Howard is one of the best directors of our modern generation. That is why that I thought, going into the theatre that this film (staring one of the best actors ever). It would have at least a sliver of a chance of being good, maybe […]
I am going to start out by noting that Ron Howard is one of the best directors of our modern generation. That is why that I thought, going into the theatre that this film (staring one of the best actors ever). It would have at least a sliver of a chance of being good, maybe not as good as the book but nonetheless still good. Making a film of such a loved as well as heated topic always draws a lot of attention, there are always the people that love, and most of the time … that same number of people that hate.
It was a very smart summer blockbuster that will attract a lot of the general American public. Think about it. Tom Hanks (one of the best actors we have ever had AND it’s based on one of the most read books since well holy the BIBLE and the DICTIONARY. Ron Howard’s adaptation of the Da Vinci Code, in my opinion not only falls sort of the book, but also tacks on a completley new and UN-improved boring ending. I honestly was somewhat enjoying this film right up until the final 30 minutes, it was pointless, uncalled for and just all around sloppy and bad.
Now getting all of those negative statements out of the way, I very much enjoyed the way that they adapted the screenplay (other than the end, obviously), and I loved the acting all around as a whole. That said Tom Hanks, obviously wasn’t exactly the most convincing Robert Langdon but still his natural acting skills made up for it. Ian McKellen’s performance of Sir Leigh Teabing is jut about as good as it could have been and the French actress Audrey Tautou’s performace as Sophie was well done. Even the little performances such as Jean eno’s performance as the police chief was good just as the rest of eno’s performances. Also the cinamotography and camera shots were very well done and were definately pleasing to watch and keep an eye on.
The “Da Vinci Code” has it’s shining moments but fails, overall to really impress not only non-readers of the novel but also the devoted fans, but i’m not too shocked.
Source: www.bestfilms.info
Superman Returns
Last summer, director Christopher Nolan reinvigorated the BATMAN legend with a character-driven thrill-ride chock full of surprises and endless invention, but the same can’t be said of Bryan Singer’s SUPERMAN RETURNS, which feels like a retread for much of its lethargic and bloated running-time. I can’t say this was a major disappointment since my expectations […]
Last summer, director Christopher Nolan reinvigorated the BATMAN legend with a character-driven thrill-ride chock full of surprises and endless invention, but the same can’t be said of Bryan Singer’s SUPERMAN RETURNS, which feels like a retread for much of its lethargic and bloated running-time. I can’t say this was a major disappointment since my expectations going in were modest at best, but this thing was sooo shockingly mundane; nothing in this movie stirs up much excitement or comes close to matching the awe and wonder Richard Donner’s film fashioned so exhuberantly.
With few exceptions, the casting is disastrous: Bosworth takes the plucky Lois Lane and imbues her with the sum energy derived from digesting a handful of sleeping pills; Spacey’s Luthor, while more faithful to the source material than previous screen versions, isn’t half as memorable as Gene Hackman’s playful take on the character, and Frank Langella is sooo lackluster a Perry White I’m not even sure he was awake when his scenes were shot. As for Routh, he improved as the film progressed, but he still looks more like Superboy (or, more precisely, RUSHMORE’s Max Fischer) than the Man of Steel. (His adolescent looks and awkward first attempts to mimic Christopher Reeve’s Clark Kent are painful to watch)
The missteps in casting could have been glossed over if the film delivered some truly jaw-dropping scenes of Super-derring-do, but there’s little suspense or excitement to the action set-pieces that seem regurgitated from previous films, and the special-effects — the one area it was reasonable to expect improvement in leaps and bounds — are competent but unambitious and not that big an upgrade from what Donner achieved in 1978. In fact, director Bryan Singer, who did such a fine job with the first two X-MEN films, seems so intent on capturing the style of the Donner classic that he leaves little of his own imprint on SUPERMAN RETURNS. SUPERMAN RETURNS most reminds me of Tim Burton’s “re-imagining” of PLANET OF THE APES; each had heaps of money lavished on them, but both are completely lifeless. And since when did Clark Kent wear glasses as a young boy??
Ultimately, this new SUPERMAN may appeal more to those who didn’t grow up with the Christopher Reeve movies, but at 2 1/2 hours, it may be too slow to become the smash Warner was hoping for; it certainly won’t rule the box-office for 13 consecutive weeks as the 1978 original did. In the end, it’s ironic the filmmakers chose to feature the song “Heart and Soul” when SUPERMAN RETURNS had neither.
Source: www.bestfilms.info
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