3 Idiots Released Date- 24 Dec 2009

Superb Movie Yaro.....................
The moment name Aamir Khan is seen in the credits, the word 'quality' comes naturally. Such has been the brand value Aamir has made around him that everything else, whether it is the director, composer or the co-star, comes secondary. Of course with names like Rajkumar Hirani, Kareena Kapoor and Vidhu Vinod Chopra involved, one can't discount the overall package affair that 3 Idiots turns out to be. Still, when it comes to the music of the film, one can't really claim to have huge expectations. Reason being that the composer at the helm of affairs is Shantanu Moitra who hasn't had a single commercially successful album other than Parineeta. Yes, he has been critically acclaimed but due to the kind of music he has created and the genre he has explored, mass acceptance has still eluded him. Even a Lage Raho Munnabhai showed some good sales once the movie turned out to be hugely successful at the box office. This is the reason why one plays 3 Idiots (that has lyrics by Swanand Kirkire) with reasonable, rather than extraordinary, expectations in place - Aamir Khan notwithstanding.

MUSIC

Write your own music review of 3 Idiots

It's a gradual beginning to 'Aal Izz Well' that gives a clear indication of what the film is all about. Arriving with the theme of 'care-a-damn' attitude, 'Aal Izz Well' is completely different from dozens of campus tracks that have been heard over the years. Swanand Kirkire's lyrics make an instant impression while Shantanu's rhythmic treatment ensures that the song would be played in many a campus festivals and student get togethers from here on. Catching the pulse of youth, whether from today, yesterday or tomorrow, this Sonu Nigam and Shaan sung track, which also appears in a deserving 'remix version', belongs to chartbuster variety. One wonders though that why did Shanatanu have to croon like Anu Malik for an interspersing piece?

Only song in the album featuring a female voice comes in the form of 'Zoobi Doobi'. The chosen one here is the obvious name without whom not a single A-list album gets completed today - Shreya Ghoshal. A song-n-dance affair that almost spoofs the conventional rain tracks that have been heard and seen in Bollywood over the decades, 'Zoobi Doobi' combines melody with rhythm with Sonu Nigam joining the show. Belonging to the 50s and 60s variety in the way it has been composed, 'Zoobi Doobi' (which too has a 'remix version' for itself) is good though its longevity would depend upon the way it has been choreographed and the extent to which the film succeeds.

From this point on, the album takes a situational turn, as visible in 'Behti Hawa Sa Tha Woh' which comes next. Starting on a pensive note, the number is about a couple of friends (Madhavan and Sharman Joshi) who are searching for their lost partner (Aamir Khan). The number has a distinct Bengali music touch to it, whether in terms of the way it has been orchestrated, arranged and even sung. With minimal instruments in the background, this number sung by Shaan and Shantanu Moitra describes the character played by Aamir and how he carried a carefree and lively persona. With a hint of sadness to it, 'Behti Hawa' is primarily for the screen.

Just like it's predecessor, 'Give Me Some Sunshine' too has a slow beginning with Sharman Joshi narrating a line about youth being allowed to live life the way they want. Soon after Suraj Jagan starts singing this track about how kids are deprived of their innocence in the world of education that dictates what they should be doing rather than them making a choice. Meanwhile, Sharman keeps interspersing the song with anecdotes from the childhood (experimenting with chemistry, forced to get 99% marks etc...). Yet another campus track, though softer in mode and tone this time around, the song has its high point every time the line 'Give Me Some Sunshine' comes on the forefront.

The finale is interesting with Sonu Nigam coming up with one of his best renditions in recent times. He changes the pitch of his voice extraordinarily well in 'Jaane Nahin Denge Tujhe' which again appears to be the set in a mood where the friends are rooting for each other and making sure that they don't fail in their pursuit for a better life ahead. After singing two popular tracks 'Shukran Allah' [Kurbaan] and 'Don't Say Alvida' [Main Aurr Mrs Khanna], this is yet another quality outing for Sonu Nigam who hits just the right notes. Special mention to Swanand for his words that should make a definite impact in the film's narrative.

OVERALL

3 Idiots is a good quality album that has two super strong tracks - 'Aal Izz Well' and 'Jaane Nahin Denge Tujhe'. Both are poles apart though because while former is for mass audiences, latter should find a perfect placement in the film's narrative. 'Zoobi Doobi' is nice while 'Behti Hawa' and 'Give Me Some Sunshine' would be known more after the film's release. Immense curiosity value around '3 Idiots' would ensure that in the initial days, the album disappears quite quickly from the music stands. After that, it would be the strength of the film and its run at the box office that would do the talking for the album as well.

World Cupp 2011 Release Date 18-Dec-2009

Cast

Ravi Kapoor, Suresh Oberoi, Zakir Hussain, Ehsan Khan, Manisha Chatterjee, Saba Karim, Nikhil Chopra

Movie Report

World Cupp 2011 is a film by debutant director-actor Ravi Kapoor. The film is based on cricket and it also exposes the links between underworld and cricketing world. Director Ravi Kapoor seems confused to pack in too many genres into one.

The film reveals the story of Indian cricket team's captain Ravi Indulkar (Ravi Kapoor), who gets lured by the bookie lord Shobhan's (Zakir Hussain) huge bribe during the World Cup game against Pakistan in 2007.

Ravi, along with his four team mates - Rajpal, Hiten, Irfan and Balwinder, ends up throwing the match away resulting in India's loss. They are however later exposed by a journalist, which leads to the Indian Cricket Board ousting them all for four years from cricket. Ravi's girlfriend, Soha (Manisha) dumps him and he also faces his father's death.

But Indian team's cricketing coach (Suresh Oberoi) gives one more chance to the black listed Ravi and his four other banned team mates. Its then an India v/s Pakistan final and what happened in that match forms the rest of the film.

Performance wise, Ravi Kapoor is just okay, he has a long way to go in acting field. Manisha is all right. She does not get much scope but may be in coming films she will do batter. Zakir Hussain and Suresh Oberoi are impressive. Former Indian cricketers Saba Karim and Nikhil Chopra do a good job on screen as commentators.

On the whole, World Cupp 2011 is good film with a good concept but the bad execution and a weak script makes it disappointing.

Viewer's Review

An average film

by Amit Vashisht (posted on : 19-Dec-09) Rating: (Average)

Overall World Cupp 2011 is just an average film. The film has right intention but it falls flat because of weak script. Positives: 1. Ravi Kapoor and Manisha have good on screen presence. 2. Aadesh Srivastava's music is okay. 3. Technically the film is good. Negatives: 1. The script is very weak. 2. Writing is amateurish. 3. Suffers from bad execution.

Rocket Singh - Salesman Of The Year Release Date 11-Dec-2009

Film: “Rocket Singh - Salesman Of The Year”; Cast: Ranbir Kapoor, Manish Chaudhary, Shazahn Padamsee, Gauhar Khan, Mukesh Bhatt, Prem Chopra; Director: Shimit Amin; Rating: ****

If cinema to you is just a vehicle to indulge in mindless diversion, then “Rocket Singh - Salesman Of The Year” is not your cup of tea.

If cinema as a popular work of art is meant to make viewers reconsider the quality of their lives, then plunge into the mundane world of Punjabi munda Harpreet Singh.

Like in “Wake Up Sid”, Ranbir Kapoor plays a somewhat aimless guy who’s just out of college wondering what to do next. That’s the moment when we jump into the lives of Sid and Harpreet, so similar in their soporific world-view and yet so different in their journey from premature jadedness to premature wisdom.

Shimit Amin’s earlier inspirational work “Chak De! India” was far more aggressive in its aspirations. “Rocket Singh” is a more gentle and non-cynical work. Its opinion on contemporary corruption is tinged with warmth, humour and a subtle regard for office politics seldom seen in our films.

Some may perceive “Rocket Singh” as a niche film on the politics of computer hardware. This is as shallow a reading of Shimit’s cinema as looking at “Chak De!” as a hockey film.

People habituated to being spoon-fed emotions by filmmakers who think masala is what makes entertainment palatable, may find Shimit’s approach to Harpreet’s tale almost arrogant in its self regard and disdain for the qualities that make socially-purposeful cinema engaging to the man in the backseat.

Outwardly Shimit and his brilliant writer Jaideep Sahni, whose words move effortlessly from stinging social comment to conversational candour, don’t seem to care whether the audience joins them in their scathing often frustrating sometimes humorous search for a centre to Rocket Singh’s life.

But make no mistake. This film really cares about the environment of indolent debauchery that has crept into the working-class lifestyle. The office details are so dead-on in recreating the deceptive dynamism of an office-going entourage, you wonder if Ranbir, the writer and director spent quality time in a slothful hierarchy-motivated office.

Ranbir’s journey from professional disgrace to redemption echoes Shah Rukh Khan’s voyage from the damned to the extolled in “Chak De”. Except that Ranbir’s playing field is more in his mind and soul.

As the protagonist gathers together his dignity to pursue a path of honesty in his business transactions, we witness the portrait of a detoxicated working-class hero.

Ranbir brings to his part a lot of earnestness and heart. His natural and utterly contagious exuberance seen in “Wake Up Sid” and “Ajab Prem Ki Ghazab Kahani” is effortlessly curbed here. What we see on screen is a Sardar not quite like any of our movies have shown so far.

Harpreet, who later becomes Rocket Singh because his colleagues throw paper rockets at him, doesn’t become a larger-than-life figure of aggressive sales-pitch. Ranbir plays the loser who turns the zero on his life’s calling-card to his own advantage with the kind of unspoken wisdom that actors acquire after decades of experience.

The supporting cast of Mukesh Bhatt as the office peon, P. Santoshi as the lazy porn-addicted colleague, Gauhar Khan as the commodified office receptionist and Naveen Kaushik as the crucial link in Harpreet’s work place, boost Ranbir’s central presence with their ingrained sense of belonging to the world Shimit and Sahni have created.

“Rocket Singh” works on many levels beyond Ranbir’s astonishing performance. It is a momentous piece of cinema for its writing and its indifference to the dynamics of conventional storytelling.

Sahni’s words are often so laconic that they make their point without our being conscious of their importance to the given context of working-class inertia.

While urging the sexy office receptionist to join him in his audacious entrepreneurship, Harpreet warns Gauhar: “Otherwise I’ll remain the joker Sardarji and you the item girl.”

The film’s main conflict is between Harpreet and his unscrupulous boss played by the aptly over-the-top Manish Choudhary. The two finest sequences are written as muted acidic confrontations between Ranbir and Choudhary. The final encounter in a supermarket where the boss surrenders to Harpreet’s integrity is the trickiest part of the narration.

“Rocket Singh” stands tall despite its flaws. On the surface it has a uni-focussed sameness to its narration, as though the story was being told in one breath.

The lack of drama in a situation simmering with emotional dips and curves gets the audience fidgety. But soon we realise the absence of expendable energy is the narrative’s primary virtue.

You can’t miss the writer and director’s concern for a growing middle-class that worships wealth and success at the cost of more valuable assets. Most of all you can’t miss Ranbir as the understated Sardar riding his cherry-red scooter gifted by his grandfather (Prem Chopra) cringing at the red light when a swanky motorbike rides up alongside.

But Ranbir’s portrayal of the loser’s rise from shame to name is a journey we’d any day undertake even on a cherry-red scooter.

Paa Release Date 4-Dec-2009

Movie Review: Paa; Star Cast: Abhishek Bachchan, Vidya Balan and introducing Amitabh Bachchan; Director: R. Balki; Rating: **** - Wins your heart.

Auro (Amitabh) is a 12 year progeria infected kid living with his gynecologist mother Vidya (Vidya Balan) and her mother (Arundhati Naag). Extremely witty Auro happens to win an award in his school from a young politician, Amol Arte (Abhishek). On the same night when Vidya watches its telecast, she realizes that Auro actually met his father for the first time. During her student days abroad, she was in a relationship with Amol but had broken off with him over their decision whether to keep the child or not. Amol wanted it aborted and not commit for marriage as he wanted to pursue his political ambitions. Progeria affected children don’t happen to live beyond 13-14 years so when Auro collapses and she fears he is nearing his final stages of his life, she reveals to him that Amol is his father. What follows next and how Auro is instrumental and getting his estranged parents back together forms the rest of the film.

Paa is R. Balki’s next after the immensely lovable Cheeni Kum (2007). Balki had showcased glimpse of his brand of sarcastic humor in his debut film and with Paa he has completely established it. The film has been intelligently narrated cutting away from unnecessary melodrama. The pacing is just perfect. The selection of child actors (including Mr. Bachchan) deserves special mention. They act their natural self and are extremely hilarious. Paa has plenty of wonderfully written and enacted sequences like Auro’s conversations with his best buddy in school Vishnu, Auro’s sequences with his stuffed toy King Kong, Amol – Vidya’s argument over whether to keep their child or not, Amol exposing his detractors on live national television, Auro and Amol’s chilling out all day in Delhi, Amol realizing Auro is his own child and finally of course the climax.

With his Auro act, Amitabh Bachchan yet again proves he is the Paa of all his contemporaries where acting is concerned. The effortless manner, in which he has carried out such a challenging act, deserves a long standing ovation. He is definitely bound to win all the acting awards for this one. Abhishek Bachchan has put up a very mature act. In fact you may want to hate his character in the film initially, but full credit to him for making it very likeable. Vidya with her body language succeeds in communicating her single mom turmoil. She is effortless natural as well and looks wow. Arundhati Naag is very good. Paresh Rawal in a short role as Abhishek’s father is well restrained.

The film scores very high in the technical department. Music maestro Ilaiyaaraja’s music is melodious and perfectly interwoven with the film. His background scrore is super fresh. Anil Naidu’s editing and PC Sreeram’s cinematography are top notch.

Watch Paa with your Maa and Paa and one can confidently say that it is definitely bound to be an experience which you will remember for a long time. Paa will leave you with a tear in your eye but also a smile on your lips.

Radio Release Date : 03,Dec 2009

Director Ishaan Trivedi
Producer Ravi Agarwal
Starring Himesh Reshammiya, Shehnaz Treasurywala, Sonal Seghal, Zakir Hussain, Rajesh Khattar
EXPECTATIONS

In the last couple of years, Himesh Reshammiya has been lying low when it comes to composing music. The same man who once gave more than three dozen chartbusters in a row had just one major soundtrack releases last year in the form of Karzzzz, the music of which did become immensely popular. Meanwhile, Himesh got selective in his assignments and worked only on those films where he came up with a package deal of an actor, composer and singer. It's the same package deal in the offering with Radio. One change though - instead of Sameer being his partner as a lyricist, it's Subrat Sinha who has been roped in.

How does the album turn out? Well, it's as simple as this - One can't take the composer out of Himesh Reshammiya. He surprises, and how, with an altogether different approach to music that he takes with Radio. He was a trendsetter 4 years back; and now he may well create a new trend if the songs of Radio are any indication.

MUSIC

A much sober and subdued Himesh is heard in 'Mann Ka Radio', the opening track of the film. In the first listening, all one ends up focusing is on lyrics that go as 'Mann Ka Radio'. Frankly, it's hard to digest. However, as one gives the number a few repeat hearing, it's the music and the singing (in Himesh's new voice) that takes centre stage. What further impresses is the overall soft mood of the song that does the trick. Once the song reaches it's 'antra' portion, one gets to hear a little of Himesh in his vintage style as well. The 'remix version' only elevates the song further as it heads straight for the club. A good beginning.

It's a Western bhangra fusion feel that 'Zindagi Jaise Ek Radio' carries. Based on the folk flavor of Punjab and carrying a similarity feel to it, 'Zindagi Jaise Ek Radio' is high on rhythm with the 'dhol' beats ensuring that the 'bhangra' mood is set right away. Himesh gets into his full throated rendition with this number (which also appears in a 'remix version') that does come with a sense of deja vu but one doesn't mind that due to it's foot tapping ability.

The real album begins though from this stage on as there are six straight songs that bring that side of Himesh that hasn't been heard in the present times. It's the sound of guitar strings which begin 'Jaaneman', a soothing number that is sung in almost an unplugged manner. A brilliant track that announces loud and clear the melodic mood that the album develops from here on, 'Jaaneman' has minimal instruments in the background with Himesh holding centre-stage. His voice too sounds all smooth-n-silky which makes 'Jaaneman' an ideal number for a candle light dinner. Shreya Ghoshal joins Himesh in this romantic outing and makes sure that 'Jaaneman' turns out to be one of the best songs to have arrived this year.

Looking at the lyrics of 'Piya Jaise Ladoo Motichur Wale', one would have imagined this to be a celebration number. However, there is a pleasant surprise in store as it turns out to be a semi-classical track which has Rekha Bhardwaj beginning the proceedings. A love song which again has just Rekha's voice on the forefront with emphasis on the quality of rendition rather than any musical instruments bringing on the beats, 'Piya Jaise...' too demonstrates Himesh's stranglehold over classical music. One wonders where was this aspect of Himesh lost over the years?

In fact Himesh even curbs himself as a singer and only brings him on the scene a couple of times while allowing Rekha to hold centre-stage. Yet another excellent track which only makes one start expecting a lot more from Radio. In fact 'Piya Jaise...' would be the last to warrant a 'remix version' but Himesh Reshammiya and Akbar Sami make it happen and present it in a format that would make an entry into the lounges and clubs.

Feeling of some pure and unsaid love continues with 'Koi Na Koi Chahe' and by this time one gets to know that all the beats and the musical instruments were reserved for the 'bhangra' number in the start - 'Zindagi Jaise Ek Radio'. That's because from that point on, none of the songs had focus on anything other than the vocals, something that shows in 'Koi Na Koi Chahe'. A 'raaga' based love song, this Himesh Reshammiya and Shreya Ghoshal track goes perfectly well with the mood that has been set in Radio so far.

The sound of piano marks the beginning of 'Teri Meri Dosti Ka Asmaan' and one knows there and then that Himesh has indeed set his heart in for creating the soundtrack of Radio. If one liked the music of his last brilliant album Ahista Ahista then one is bound to grab Radio too with both hands, courtesy a song like this which continues the unadulterated feel of the album. Subrat Sinha too spins some interesting lyrics for this number that has Shreyal Ghoshal getting that little girl act well with Himesh giving her company in a full throated rendition.

It isn't every day that another male singer makes an appearance in a Himesh Reshammiya album; let aside sharing the stage with him. Well, impossible happens in case of 'Damadji Angana Hai Padhare' where Kailash Kher gets this opportunity. A number that has a folk base to it, 'Damadji...' has Kailash beginning the proceedings. However, two minutes into the song and Himesh enters the scene while bringing a different pitch and momentum. Yet another number that is attached to the roots and stays Indian throughout, it should make for a good situational outing.

It's back to a romantic duet with Himesh and Shreya coming together for 'Shaam Ho Chali Hai'. After 'Janeman', this is the love song that impresses most and deserves to be promoted to the hilt. With a touch of wait and sadness to it, this one too carries a certain 'pure' feel to it and stays unconcerned about any commercial trappings. Carrying the kind of sound (that does remind of 'In Dino Dil Mera' - Life In A Metro) that is bound to work well with the youth of today who are looking at hearing something different from the usual club outings that are being presented in many a album in recent past, 'Shaam Ho Chali Hai' deserves a repeat hearing.

Before the album concludes, Himesh presents himself a solo in the form of 'Rafa Dafa Kiya Nahi Nahin Jaaye'. A number about moving on in life, this one is a good attempt by Subrat Sinha as he pens something different from the 'dard-e-tanhai' genre that has been beaten to death. A slow moving track that is primarily for situational appeal, it doesn't harm the overall flow of Radio which ultimately turns out to be much more than just a satisfying album.

OVERALL

Radio, in one word, is 'brilliant'. In three words, it can be described as 'Himesh is Back'. And in one sentence, it would be right to say that 'Himesh creates something that what he is capable of doing so'. One wonders whether he too was aware of this fact that he had it in him to compose and sing songs like 'Janeman', 'Piya Jaise', 'Shaam Ho Chali Hai' and 'Koi Na Koi', all in one single album. He makes a huge impression with Radio that is sure to hit the top spot in the charts in quick time. Strongly recommended!