Check out what we thought of the music of Enemmy!

The composer Gourov Dasgupta takes to the mike for the first time ever as a lead singer on a Hindi film OST for the Enemmy Title track (Hindi). He has a rough hewed voice, very heavy metal, deep in tone and delivery but also very smooth and strong on the pure singing sections. He is brilliant. The title track starts off with a simple piano and builds with the addition of Gourov’s vocals. There is a contrast between his rock essence and the lighter music in the beginning and it mixes very well. Love the slowed down section with just the piano and the cool whispery echo effect added to his vocals. He always seems to mesh the electro and the rock to make something unique and Enemmy shows that off! Love the ‘Within – Without’ hook. But, of course, then the rocker comes out to play and we know that Gourov not only sings the song but also does the jamming guitar solo! Great song!

There is also an English version of the Enemmy Title Track, which also sees Gourov take the mike. This one is more full on hard-core rock jam in music and vocals and it is wicked! Gourov kills it, inflection, feeling, notes, passion, delivery, are just well …forgive me he totally kicks ass! He must sing more! Of the two, I prefer this one musically. We hear once again that killer guitar riff he lays down, brill! Now if you have read my music reviews you know I am a bit of a rock chick so this one hits all the right notes for me but I think it will all the right notes for you too! Love this rocked out song and have it on my favorite song playlist.

Hit The Lights is very electro synth in its beats with a very cool groove in the beginning. Add in the rock-flavored vocals of Gourov, it makes a fab contrast to the more dancey type beats. Torsha joins in to add the female vocal, which is a nice layer to add to the song… except for that rap part. I really liked the first part of this song and the Hit the Light refrain was interesting in sound. But then it goes off and sounds like a different song. There is a lot to this section – I think too much. It is a good song but I felt like it needed something in the main section of the song while other parts needed less. I think in context of the film it may play better. Serious props to Gourov’s vocals.

New singer Keshav is heard on the lovely soulful ballad Bheege Naina and he is fabulous. I love this song; it is very haunting in mood and music. It is one to get lost in, the music, the vocals, the feel, one of the best songs Gourov has done! Keshav sings with passion, and so much feeling in every note, I loved his vocal on this song. The melodious refrain of ‘Bheege Naina’ takes you away. This is a song that you can’t wait to hear again before it is even over! I have had it on serious repeat since I first heard it. This track is one to add to you Bollyfavorite song list!

We also have Bappi Lahiri’s Katrina Ko Kareena Ko sung by Mamta Sharma and Bappi Lahiri. Very Indian in beats and vocals, it is a peppy, full of percussion song, which you will know what I mean when you hear it, which you should. It also has some extra layers of modern beats and vocals that appear every now and then which seem out of place. Of course, Mamta Sharma is fabulous and sings with the spicy flavor the lyrics and music needed. Bappi Lahiri is of course great. The song is a bit of a mix in parts but over all I really liked it and it will be interesting to see what it accompanies in the film. Give it a spin!

Not only does Gourov manage to surprise us with his awesome rock flavored tracks for the film, he totally blew us away with his killer vocals. Add in the brilliant ‘Bheege Naina’ with Keshav and Bappi Lahiri doing what he does best you have a great OST. Though maybe not what you would expect for a film like Enemmy, I think that is what makes it so cool is that the track are something unique and totally rockin! Def one to check out!

Stay tuned we will have an interview with composer coming up soon!

Enemmy Music Review is a post from: BollySpice

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So do the tracks by SEL live up to our early expectations? Read on to find out!

Zinda already a hit is one killer track. Shankar Mahadevan’s son Siddharth Mahadevan is at the mike of this awesome song and boy can he sing! ‘Zinda’ is full on power rock that also features some very smooth and cool almost ballad sections that are a brilliant change up. The drums, wailing guitars and the resonant beat, be it hard or soft, will have you banging your head and then cooling out, then jumping around to beats of the fab song. I love everything about ‘Zinda’. Siddharth sings with power, with emotion, with coolness, with everything he is and he is the perfect voice for this track. SEL have come up with a fabulous rock jam that I know you are going to keep on repeat until the film releases and then probably even more after you see it in the context of the film. One of my favorite SEL tracks, in case you can’t tell. Turn this one up to 11! 5 stars

The wicked guitar groove of Mera Yaar with that strong bass and cool, staccato, rhythmic vocal line as another instrument is another fabulous song on the album. I found myself dancing and swaying to the beat sitting at my computer and that is hard, let me tell you, when you are trying to type your notes. Add in the vocals by the terrific Javed Bashir and SEL have done it again. Another musically perfect track. This one just has to be experienced – the groove is just too cool. Not sure about the odd violin section, but that I can ignore, because the combo of Javed Bashir’s incredible intonations and sharp and yet smoky-smooth at the same time vocals and the amazing back up music it is too good. Give it a play and then I know you will want to hear it again and again. Excited to see what happens in the film. 5 stars

Maston Ka Jhund also begins with a vocal as part of the instrumentation and it is almost beatboxing but with an Indian flavor. The song then transforms into full Punjabi beat with an extra underlying dark, deep music intonation. Sung by Divya Kumar, he is fabulous but the chorus singers are a bit harsh to my ear. I think this one will play better in the film. There is a synth section in the middle that makes it a bit dance tracky. I found it to be bit of a mess. I would have liked it if they had kept it to the simple Divya Kumar showcase, he is great with the underlying bass line sections. This one is a wait to see in the movie it might get better. 3 stars

Gurbani begins with full orchestra and it is music heaven. Daler Mehndi joins in and is better than I have ever heard him. It is his pure voice and it is amazing. It is very short and I wanted much, much, much, more! Sad in feeling it makes you wonder what can be happening on screen. I can’t wait. 4 stars only because it so short.

Arif Lohar is featured on the title track Bhaag Milkha Bhaag and is absolutely fabulous. The music is simple in flavor and is perfect to show off Arif Lohar’s pitch-perfect-spicy-strong-full-of-feeling-and-so-many-adjectives-I-can’t-even-list-them-all singing. It is perfect for the film and I cannot wait to see what we will see on screen while this song blares from the speakers! Just listen and be amazed by the power of his voice. 4.5 stars

Then there is the very, very, very confusing Slow Motion Angreza. Maybe it will make sense in the context of the film but this begins as a folk song; in the sense of contemporary folk music like those of the 60s in the US not in the sense of folk music from India. I actually had to go and check and make sure that I was not listening to the wrong OST or that I had downloaded the wrong song from iTunes – 3 times. It then transforms into a Hindi fast paced track with still the banjo backing folky flavor. Singing this interesting song is Sukhwinder Singh, Loy Mendonsa, and Shankar Mahadevan. Sukhwinder Singh is great of course but this song is just a WHAT? As I said maybe we will understand when the film hit theaters. Can’t even rate it.

O Rangrez is a song that makes you sigh with happiness. Lovely ballad with a modern touch in the beginning it transforms into a pure classic Indian Bollywood song, the type that we all love. Sung by one of my now favorite singers, Javed Bashir, who is incredible once again – his rendition is full of feeling in every note. And then (and this is a good and then) you think it can’t better and the beautiful tones of Shreya Ghoshal join in and it is pure magic. This is a song that reaches in and fills you and is one of the reasons I love the music of Hindi films so much. This is perfect Shankar-Ehsaan-Loy, who as we all know are outstanding, and they prove it once again – this song is just WAH! 5 stars

There is also a Rock Version of Bhaag Milkha Bhaag sung by Siddharth Mahadevan and once again he is absolutely rockin’! There is such an amazing tone, feeling, snap and strength to his voice I want to hear him sing much more. This is a completely different version to the title song and being a bit of a rock chick I like this one a bit more for the music, but it does not take away from Arif Lohar’s incredible vocals on the original. Love the strong bass and the drums. This one runs along (sorry had to say it once) and hits all the right notes. If you are in the mood to get your rock on then give this one a spin. 4 stars

With this album Shankar, Ehsaan and Loy once again prove why they are one of the most highly respected and best music director groups in Hindi films. But what is so amazing is the range and versatility they show on this OST from pure classic Indian Bollywood, to Punjabi beats, to full on rock, they created a truly superb set of songs, many of which are some of the best songs they have done. I know that the ‘Rock Version of Bhaag Milkha Bhaag’, ‘Bhaag Milkha Bhaag’, ‘O Rangrez’, ‘Zinda’ and ‘Mera Yaar’ will be on our best songs list of 2013 and I am sure you will add them to your all time favorite Bollywood songs lists as well. As you know, songs are always even better once they are seen in the narrative of the film and we can’t wait to see and love these songs even more!

We will go with a 4 leaning very strongly toward a 4.5 if it wasn’t for a couple missteps. But if you skip those then and listen to the brilliance of Bhaag Milkha Bhaag we are sure a 4.5 it will be!

Bhaag Milkha Bhaag Music Review is a post from: BollySpice

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Set in early 20th century Kolkatta, the film is the entangled love story of Devdas (Khan) and Paro (Rai), childhood sweethearts who are torn apart as a result of their families’ pride, jealousy and differing socio-economic status. Devdas turns to a life of roaming and alcoholism and falls into the arms of a beautiful courtesan, Chandramukhi (Dixit). However, Chandramukhi’s love for him only makes Devdas realize his true love for Paro. It becomes clear, however, that although Devdas is deeply loved by two women, a happy ending is simply not in store.

Aside from Khan’s, Rai’s and Dixit’s impeccable portrayals of their respective characters, Devdas stands out for two other reasons: its sets and costumes, and its music. The film’s depiction of India in the early 1900s is breathtaking – the six sets alone reportedly cost around 200 million rupees. Devdas’ extravagant mansion, Paro’s simple and delicate haveli and Chandramukhi’s dazzling kotha made the perfect backdrop for a lavish movie filled with intricacies in both character and story. In conjunction with these sets were the glamorous costumes. Notably, Paro’s and Chandramukhi’s  lehengas and saris were simply ornate. Eleven years later, we still remember those signature red and white saris from “Dola Re Dola” and Chandramukhi’s gorgeous green lehenga from “Maar Daala.” Devdas’s character was not ignored. From a stylish and suave foreign-returned adolescent to a disheveled alcoholic, Devdas’s costumes were always spot on.

The film’s music was composed by Ismail Darbar and also marks singer Shreya Ghoshal’s Bollywood debut, who caught Bhansali’s attention in an episode of Sa Re Ga Ma Pa and has clearly gone on to see immense success. With the addition of Udit Narayan and Kavita Krishnamurthy, the Devdas soundtrack is one of the most impressive albums of recent times and reached both critical and audience success. Every single song was not only beautiful, melodic and captivating but also accurate to the situations within the movie.  “Dola Re Dola” is arguably the most memorable song of the film. The beautifully choreographed number was a dance duet between Rai and Dixit, for which Ghoshal and Krishnamurthy nabbed Female Playback awards at the Filmfare, IIFA and Star Screen Awards.

Devdas is one of those films that will always be remembered because of the stupendous performances from its leading actors. Khan’s portrayal of Devdas is personally what transformed me into an ultimate Shah Rukh Khan worshipper. He plays this flawed yet loveable character with such true emotion that the viewer can’t help but get invested into his fate and get drawn into the film. Rai’s depiction of the beautiful, delicate and sweet Paro was equally solid and Dixit left a mark on audiences as Chandramukhi. This was Dixit’s last film before she took a film hiatus to focus on family.

Sure enough, Devdas received both critical and commercial accolades, affirming it success in the Indian market.  The film grossed over 80 crores worldwide and was the highest grossing film of 2002. On the awards front, Devdas swept most major honors (including best film, best actor, best actress and best director) at Bollywood award ceremonies like Filmfare and IIFA.  The movie also garnered international recognition after its screening at the 2002 Cannes Film Festival. Last year, TIME Magazine even named Devdas one of the 10 greatest movies of the millennium, worldwide.

It’s easy to see why Devdas should be remembered for the next 100 years. The lavish sets, costumes and jewelry are everything we expect from an ultimate Bollywood film. The acting, the story, the fantastic soundtrack and the drama make the movie a spectacle in the best way possible. In the end, Devdas is an emotional and tragic story of unrequited love. It puts a spotlight on sins like pride, honor, envy and arrogance and how these vices can transform a person, a family and even a journey of love. Devdas is more than a film—it’s an epic saga.

FRAMING MOVIES Take Thirteen: Devdas (2002) is a post from: BollySpice

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Set in the backdrop of Lucknow, Pakeezah is about a woman named Sahibjaan (Kumari), who is given birth to by Nargis, also played by Kumari in a double role. Nargis dies during childbirth in a graveyard, after having been defamed and rejected by her lover Shahabuddin’s (Ashok Kumar) family due to her courtesan background. Sahibjaan is raised by Nargis’ sister Nawabjaan (Veena Sapru) and grows up amongst courtesans. She eventually becomes one herself and performs regularly in front of a bedazzled gathering of men. It is in a train compartment where Sahibjaan is asleep that Salim (Raaj Kumar) becomes enthralled by her beauty, especially her hennaed feet. It is at a later meeting where both of them meet each other face-to-face that Sahibjaan and Salim fall in love and want to marry. But wherever Sahibjaan goes, her courtesan identity follows her and she is recognised by passing men in bazaars (markets). Unable to attain the respectability she yearns for, she runs away from her secret wedding to Salim as she does not want her bad name to be associated with him. She agrees to perform for Salim at his wedding to another woman, where her father Shahabuddin is also present. It is here that both father and daughter meet for the first time and the film reaches its gripping climax. I will leave it to the reader of this article to watch Pakeezah and witness themselves how this intelligent and moving story comes to an end.

Pakeezah is a sensational film which will leave you hooked from beginning to end. It is emotionally charged and showcases the stereotypical slurs which a courtesan has to tolerate, despite possessing a ‘pure heart’ (translation to the title of the film). It can also be included as part of the feminist discourse, since the film deals with female identity and the normative traits which a woman should ideally possess in an Indian context. Furthermore, Pakeezah exhibits the fine aptitude of the Bombay film industry, with its excellent use of colour, lavish costumes and eye-catching grandeur sets. Although some parts of the film are a little unusual, nevertheless, this should not deter you from watching a film which has garnered a lot of critical acclaim over the years.

Meena Kumari delivers a phenomenal performance as the leading female protagonist, especially given the circumstances, as she was terminally ill when filming resumed. It is perhaps one of her greatest works along with Baiju Bawra (1952), Parineeta (1953) and Sahib Bibi Aur Ghulam (1962). These are all films which have helped to consolidate her status as the tragedienne of Indian cinema.

Another key highlight of Pakeezah is its melodiously composed soundtrack by the late Ghulam Mohammed. Naushad produced the background music. Immortal classics such as ‘Inhi Logon Ne,’ ‘Chalte Chalte,’ ‘Mausam Hai Aashiqana’ and ‘Chalo Dildar Chalo;’ all sung by India’s nightingale Lata Mangeshkar (the latter song being a duet with Mohammed Rafi); will no doubt mesmerise you. It certainly had an immense impact on people when it first released. The soundtrack to Pakeezah arguably helped to revive the presence of classical Indian music in Bollywood, especially at a time when the audiences’ taste in ‘filmi’ music had shifted from folk and classical to more upbeat and modern music being composed by the likes of R.D. Burman and Kalyanji-Anandji. Having encountered the soundtrack to this film for the first time, it certainly made me more appreciative of such music – especially since I am part of the younger generation. I have come to characterise India and Indian culture with its musical instruments such as the Sitar, Harmonium and the Tabla. Pakeezah is perhaps one of Mangeshkar’s finest albums, which demonstrates her eclectic ability as a vocalist.

The film was initially a box office flop when it released in February 1972. However, when India learnt of Kumari’s death the following month, there was a revival of interest in Pakeezah and it subsequently went on to became one the highest grossing films of that year. It is disappointing to learn that the film did not go on to pick up many awards. However, this is not an issue as numerous film critics and scholars, as well as sections of the media have done an excellent job in keeping the legacy of Pakeezah alive.

More than forty years after its release, Pakeezah continues to stir many people for its humanism, eloquent Hindi-Urdu dialogues and romance. It is one of the most important films to have emerged from Indian cinema; 100 years after the first motion picture was made in 1913. I would strongly urge those who have not yet seen Pakeezah (especially the younger generation) to set aside a few hours of their busy schedule to watch Amrohi’s magnum opus. Pakeezah is a story to discover and which will leave a lasting effect on you once it has fully unfolded.

FRAMING MOVIES Take Twelve: Pakeezah (1972) is a post from: BollySpice

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The setting is different (London this time), the director is different (Samir Karnik is replaced by Santosh Sivan), the story is different (no link to the first film). However, the key characters, their roles and that distinct Punjabi flavour are all still there. There is not much to the story, as with most blockbuster comedies, so what you really go to watch is a bunch of funny scenes, dialogues and moments, weaved together with some good songs, a bit of action and some good comic performances. Sadly, there simply is not enough of these elements in YPD 2.

Director Sivan talked about having a bound script before they commenced shooting and being given helpful steers from Dharmendra on scenes as they were shot. However despite these claims, one does not get a feeling that this script was well thought out, therefore it fails to cater to the individual appeal of the Deols and ultimately satisfy the audience. Sunny is given some ‘over the top’ action scenes to suit his well established action hero tag, but this is no Ghayal or Ghatak. Dharmendra is given some funny lines and scenes to display his comic skill, as in classic films like Chupke Chupke, but sadly you will have seen most of these in the YPD 2 trailers already. Bobby never really managed to build up much of a unique brand for himself, so is alright in the various scenes he is given as the lover boy hero.

The supporting cast do not really manage to save YPD 2 either, despite having comic veterans such as Anupam Kher, Jonny Lever or Annu Kapoor. The two leading ladies are also instantly forgettable (Neha Sharma and Kristina Akheeva). Despite the title track being an old classic, the first YPD still had some memorable tunes, YPD 2 does not score at all in the music department. At two and a half hours long, there were moments where one felt a remote control could have been handy.

In conclusion, that ‘magic’ of the Deols was misplaced in YPD 2 and perhaps the novelty of seeing them together again too. YPD 2 is not as fun as its first part and nor does it pack the punch which most big budget comedy blockbusters are expected to do. For hardcore Deol fans, hopefully you will still enjoy it and see it as a fun extension of the first film. For the rest of us given the charm and sincerity of the Deol trio and brand, they should and will surely be back with another offering soon.

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To make the launch even more interesting and full of ‘jugaad’ elements, the Excel entertainment team went on a search for some real life ‘Jugaadus’ who have done something unique in their life. One such example was Mitticool, an eco-friendly clay fridge that functions without electricity. AC Helmet team, that made helmets with an AC fit inside it were amongst the Jugaadus selected by the Excel team. These teams displayed their innovations and discussed the ‘jugaad’ they did for inventing them.

Producers Farhan Akhtar and Ritesh Sidhwani then release the song, which received a huge round of applause and appreciation from the audience. The cast, director and Farhan very sportingly discussed the different jugaads they have done in their lives. It was quite an interesting thing to hear everyone, including Farhan, talk about their jugaads. Farhan went on to say that filmmakers are doing some or the other jugaad all the time.

Here are the pictures of the launch!

Plus bonus the song video too!

http://www.youtube.com/watch?v=Fz4utxLHpu4

Special Report: Team Fukrey Launched Their Song ‘Jugaad’! is a post from: BollySpice

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Pe Pe Pe starts off the album and it was so not what I was expecting. Very 60s feel and sound, the song is a perfect character theme song, much like they did back then. Himesh Reshammiya sounds fabulous and is having fun on the peppy and at the same time cool track. My only complaint is the electronic drum kit beats, it would have been so much richer with a full on drum kit with high hats, bass and snare drum tamping out the hot beat. But for what I have seen of the film, this song should fit right in and even better, it plays well alone too if you are looking for a different song. There is also a remix, which also is quite good too. Nice beats are added in the synth tracks that are laid down. I still prefer the original, but this one is a good listen too.

Khali Salam Dua begins with a lovely piano and orchestra, which is a beautiful lead in for the incredible Mohit Chauhan. He sings with wonderful inflection and feeling. The track is very pared down showcasing Mohit’s voice with just a very simple underlayment of music. I always love Mohit Chauhan’s songs and this one is another to add to the list. Get lost in the pure gorgeousness, I did.

Then we have Ishq Gangster, which again Himesh Reshammiya has created a new sound. Very percussive in the under beat, it features Himesh Reshammiya in his classic avatar. I liked the music but it got old after while. Himesh’s vocal sounded to be a bit to scream-y and was fighting the music instead moving and melding with the beat. I did like the ‘gangster sala’ hook and wish he had kept to that lower bass he used for that stanza. This one is a skip but it may play well accompanying a scene in the film.

There is a remix of Ishq Gangster that has a killer rap track layered on top that I really liked, but it so did not mix with the original song at all. Just does not work in any way with the original beats and vocals. Maybe give it one listen but sadly this one is a skip too.

Shortcut Romeo features Ash King and yet another new flavor to the sound of the OST. Ash King sounds fabulous in the pop-jazzy track. He sings with great feeling and vibe, he makes the song fabulous. Wonderful harmonies add to the greatness of this track. Again Himesh went with a simple instrumentation and that shined too. Loved this one!

Aman Trikha takes over for the Shortcut Romeo (Reprise). This version has more of an Indian flavor and is sharper in instruments, in attack and vocals. Aman Trikha’s vocals have a great strength, snap and smoothness at the same time that again makes the song. Another excellent track that you can’t really compare to the original, this one is fabulous in it’s own right.

Jave Saari Duniya is a very electronic Punjabi track with the always brill Mika Singh. It is a good song but it feels like it is missing depth, it sort of glides along at a spirited pace but it never really gets into your soul and gets those shoulders a dancing. The best thing is Mika and you wish he had more backing him up. Still it is not a bad song by any means so give it a listen, it is just not my favorite.

Finally there is Shortcut Romeo Mashup, which like its title says, is a mashup of the songs with a very club beat added in. Interesting in creation and experiment it just sounded a bit of a muddle to me and not one I would want to play again and again.

For the OST of Shortcut Romeo Himesh Reshammiya certainly brought something new to the party and did it wonderfully if a bit synth-y in parts (yes, of course, that is a word). I loved the pared down songs the most but all the tracks are good. I will give this a three but it has a strong leaning to 3.5 for ‘Pe Pe Pe’, ‘Shortcut Romeo’ and the reprise and most definitely ‘Khali Salam Dua’, which I know you will have on repeat.

Shortcut Romeo Music Review is a post from: BollySpice

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The film uses the contrast between the highly developed world of NASA, which has been at the forefront of advances in space research, and this world back home in India, which is at the crossroads of development. What was a simple mission, prompted by nostalgia and affection, turns into a journey into the heartland of rural India, both literally and metaphorically. His quest becomes the journey that every one of us goes through in the search of the metaphysical and elusive place called home.

Swades is a film that shows the beauty of India, the rich culture and the kindness, but it also shows that India still has a long way to go.  It brings issues to the foreground like arranged marriage, dowry, child marriage, unemployment, how woman are perceived, failing of the Government when it comes to simple needs like education and electricity in villages. This upcoming economy with so much potential needs to step up and take charge.

Here I would like to focus on one of the best scenes in the film, a discussion between Mohan and Gita, which is even relevant in today’s time, nine years after the release of the movie. Has anything changed, when you read the following?

In a scene before the discussion starts, Gita said no to an arranged marriage, even though the boy has a good job and is educated, because their viewpoint of a woman’s worth is not to her liking.

In this scene, Gita explains why she rejected an arranged marriage. The family of the boy wanted her to stop working after marriage because a woman is supposed to stay at home and look after the family once married. According to the boy, a woman’s hands are full just with the household chores. Gita does not agree. The family says that in their family woman do not work outside of the house. They fail to understand why a woman would want to work after marriage.  Gita says:  “And what if I say the same to your son?” She explains that her parents too have brought her up with equal love and affection and they expect her to live her life with self-esteem, independence and self-reliance. She points out that if their son has a desire to be something in life, to make a mark in society then why can’t woman have the same desire. She points out that a woman is not only in the world to wear bangles and sit at home. After marriage, aren’t the house and children as much a responsibility of the man as the woman? Why can’t the husband and wife work as a team? Why should one of them sacrifice more than the other?

Kaveri Amma says that after marriage you can change this thinking, but Gita is confident that this guy and his way of thinking cannot be changed. She even feels that once they have agreed to the marriage they would have asked for dowry as well.

Then Mohan enters the conversation and says “This thinking is imbedded in our culture & tradition and it hampers the nation.”

The discussion between the two continues, heats up and turns into a serious discussion about India and the Government.

Gita: “Excuse me. Without culture and tradition the country would be left with no soul.”

Kaveri Amma: “But Mohan, we are not talking about the country.”

Mohan: “I know, Kaveri Amma, but it’s all connected, isn’t it? What is this soul you talk about Gita? We are plagued with problems. Will you disagree when I say that illiteracy is rampant? That we have administrative problems. We are yet under-developed.”

Kaveri Amma: “That’s true! Illiteracy and poverty go hand in glove.”

Mohan: “Kaveri Amma, your village has not even got electricity yet. Caste discrimination, overpopulation, unemployment and corruption, our state of affairs is pathetic.”

Gita: “You have drifted from our topic. But since you’ve brought this up, let me tell you the Government is trying to find solutions for these problems.”

Mohan: “Yes!Yes! We’ll see how much good solutions will bring. The infrastructure that the Government has is not enough to cope with even ¼ of the existing population. The Government has always failed in satisfying the peoples’ needs.”

Gita: “The Government is making policies, making efforts.”

Mohan: “What do you mean by making efforts? Just to make resolutions and collect funds for them is that where the Government works’ ends? Whether this money even reaches the grassroots level, whether the common man benefits or not from the resolutions, are they not responsible for that as well?”

Gita: “Yes they are.”

Mohan: “Then…”

Gita: “But what do you think the Government is, after all? The Government is a system, of which the public also is a part of. You, Me, this village… all of us!  Now if the system is lacking in certain things, then to rectify its weaknesses is our responsibility as well.”

Kaveri Amma: “God helps only those who help themselves.”

Mohan: “Yes Kaveri Amma, but things are not going to change here. Because no one wants to change.”

Gita: “It’s easy for you to criticize. But are you doing anything about it? No!”

Mohan: “Excuse me. At least, unlike you, I am not defending the Government. I am building satellites to help technology advance. For everyone, for mankind.”

Gita: “But you are doing it all over there. I’m doing all that I can here, at the village, grassroot level. I’m trying to make this a better place.”

Mohan: “Gita, you too are a typical Indian. You Indians can’t take criticism.”

Kaveri Amma: “You Indians?”

Mohan: “Sorry, I mean… We Indians.”

Gita: “Anyway, we are aware that not much has changed in our country in a long time. But still I want to try and make a difference. You have given up all hope.”

Mohan: “No I haven’t.”

Swades is a film that explores the contrasts between the high-tech world of NASA and the low-tech villages. It’s about making a change and as large parts of the Indian population are youngsters, they are the ones that should make the change for the next generation of people.

FRAMING MOVIES Take Eleven: Swades (2004) is a post from: BollySpice

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The story is based on Radha, Shamu (Raaj Kumar) and their children, who are subjected to extreme exploitation from Sukhilala (Kanhaiyalal) after Shamu’s mother takes a 500 rupee loan from him in order to pay for her son’s wedding. This results in them giving Sukhilala three quarters of their crops in interest and therefore; they begin to experience poverty like never before. Life is made even harder for Radha when Shamu leaves his family after having had his arms crushed by a boulder, as well as her mother-in-law dying on them. Radha and her children endure immense poverty and hunger due to Sukhilala’s greed and manipulation. Despite a heavy storm tarnishing the village, Radha decides to use the remaining land that is under the family’s name to grow crops. The scene shifts to many years later when her surviving sons Birju (Sunil Dutt) and Ramu (Rajendra Kumar) are all grown up and together; they have successfully managed to grow crops. Ramu is the dutiful and law-abiding son, whereas Birju is the rebellious son and a trouble maker. Birju decides to seek revenge on Sukhilala for putting his mum through severe hardship. He manages to achieve this during Sukhilala’s daughter Rupa’s (Chanchal) wedding, where he finally kills him and kidnaps Rupa. Radha is angered by Birju’s attitude and behaviour towards women as she considers honour to be the most valuable quality in a woman. Hence, Radha decides to take matters into her own hands in order to stop Birju from leaving with Rupa, which results in an incredibly tragic climax. You will have to watch Mother India yourself if you wish to see one of the finest endings to have ever been made in Hindi Cinema.

Mother India is a landmark film which transformed Hindi Cinema forever. The film’s intense subject matter, its depiction of realism, as well as the nationalistic message it conveyed contributed vitally towards its popularity and subsequent cultural significance. Mother India is regarded by many as the film which placed Hindi Cinema (or Bollywood as it is commonly known today) on an international platform. Though it received mixed reviews from some western critics, it was showered with praise amongst the Indian critics. Mother India became the first ever Indian film to be nominated at the Oscars under the Best Foreign Language category. It reportedly lost by just one vote to the Italian film Nights of Cabiria (1957). Nargis became the first ever Indian to win the Best Actress prize at the Karlovy Vary International Film Festival (based in the Czech Republic) and she also went onto win her first and only Filmfare Best Actress Award. Mother India won many other awards at the Filmfare ceremony, which included Best Film, Best Director, Best Cinematography and Best Sound. It has been dubbed by scholars as India’s equivalent to Gone with the Wind (1939), which is considered to be Hollywood’s greatest epic.

Mother India is a poignant story about a woman’s struggle to raise her family in an agrarian context. This was during a time when India’s illiterate villagers were taken advantage of by individualistic moneylenders. It also emphasises the importance of honouring women in the same way one would show similar respect to Hindu deities. Moreover, Radha is one clear example of a woman whose characteristics are parallel to that of a Hindu goddess; since she goes to great lengths in order to protect her family and village from evils. Such elements about this film are perhaps why it is so revered not just amongst the Indian public, but also at the state level. Mother India was screened especially for the President and Prime Minister of India in New Delhi, a few days prior to its release. Mother India was also exempt for entertainment tax in Bombay, since the state’s Chief Minister was highly impressed with the film’s nationalistic content. It is by far one of the most magnificent and pungent films to have arisen from Indian Cinema during its 100 year history. It can be safely said that Indian Cinema would have lost some of its definition and meaning had we not been exposed to Mother India.

Nargis was Mehboob Khan’s first choice to play the iconic role of Radha. Initially, Mehboob Khan wanted Dilip Kumar to play Birju. However, Nargis objected to this since both actors have been seen as a romantic couple in many films. Therefore, she felt it would be awkward for Dilip Kumar to play her son in the film and this consequently led to Sunil Dutt entering the picture as Birju. Mother India shot three new actors (Sunil Dutt, Rajendra Kumar and Raaj Kumar) to stardom after its release. This was indeed an extraordinary trend, especially since in today’s times; few new actors acquire stardom almost instantly. The film took three years to make in total and was one of few to be made in Technicolor during the 1950s. Mehboob Khan had done this earlier with Aan (1952), which was India’s first ever colour release. For the fire scenes in the film, Nargis and Sunil Dutt performed them without the participation of any stunt doubles. This resulted in Nargis being trapped in the fire due to a shift in wind direction. Sunil Dutt saved Nargis from this incident which could have essentially killed her. He suffered from a number of burns due to his heroic act and was hospitalized for several weeks. During this time, Nargis fell in love with Sunil Dutt whilst she was helping him to recover in hospital. The two decided to keep their relationship under wraps until after Mother India was released. This was largely because they were playing mother and son in the film and they did not want to ruin the film’s overall impact on the audiences.

Mother India released in cinemas on November 1957 during Diwali celebrations, despite Mehboob Khan’s dream to release the film on 15 August 1957, which marked the tenth anniversary of India’s independence. It fast became the highest grossing film in Indian box office history, which was later overthrown in 1960 by K. Asif’s historical epic Mughal-E-Azam (1960). Film magazine Empire included Mother India in its official list of ‘100 Best Films of World Cinema,’ ranking it in 80^th position. Indiatimes included the film in its list of the ‘Top 25 Must See Bollywood Films.’ Along with Dilwale Dulhania Le Jayenge (1995), Mother India was one of two Hindi language films to have been included in a book titled A 1001 Movies You Must See Before You Die (2012), edited by Steven Schneider. Such honours validates how this is indeed one of the most important films to have ever been produced in Indian Cinema.

In a year when India and the world are celebrating 100 years of Indian Cinema, it would be inappropriate to not acknowledge Mother India. The film has made a phenomenal contribution in shaping Indian Cinema and thoroughly deserves the numerous accolades and praise it has received on a global scale. Mehboob Khan has delivered a relevant and intriguing piece of cinema that will surely captivate people of all backgrounds. Although the entire cast of Mother India have played a commendable role in ensuring that it has a great impact on the masses; it was really Nargis who gave this film life and substance. Without her adopting the character of Radha, perhaps Mother India would not be classified as a great Indian film, since her superstar status did entice many people to watch it. She delivers here one of the finest and most significant works of her career. Nargis’s powerful performance in Mother India is perhaps why many critics, as well as the rest of India regard her as the greatest actress that the country’s film industry has ever produced. Therefore, make the time to watch Mother India if you wish to see what epitomises great cinema.

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Yeh Jawaani Hai Deewani does provide entertainment, breath-taking cinematography and a fresh concept to Hindi Cinema with regards to the theme of the 21^st century youth. Yet the script could have been strengthened to a certain extent in order to make the story more intense and gripping. Having said this, don’t be deterred from watching a very graciously made film that has various positive qualities to it. It is a film that will not only appeal to today’s Indian and South Asian youth, but also the diaspora. Following his directorial debut with Wake up Sid (2009), Ayan Mukerji manages to prove once again that he is a director who is full of talent and is able to provide his audiences with a range of creative styles that will be highly valued.

Ranbir Kapoor is superb as the loveable and charismatic Bunny and his performance goes from strength to strength in this film. After having starred in unconventional films like Rockstar (2011) and Barfi! (2012), you will very much develop a strong respect for Ranbir for having taken on a film that is done in traditional Bollywood style. The beautiful Deepika Padukone is very good as the girl in search of her youth and provides a very modest performance. Though many will agree that she was even more phenomenal to watch as the feisty Veronica in Cocktail (2012), where her character from this film was more dramatic. However, the woman who steals the show is Kalki Koechlin as the one-of-a-kind Aditi. Kalki provides a robust and praiseworthy performance in her supporting role. Her Hindi is top-notch and it can be said with confidence that she will go far within the Indian film industry due to her work in this film. The same cannot be said for Evelyn Sharma, who was just cringe-worthy to watch in her brief appearance. Her Hindi was atrocious and she is not convincing at all via her character. Aditya Roy Kapoor is solid in his role as Bunny’s best friend and provides the correct dose of drama and humour which this film required. All in all, one of the things which made Yeh Jawaani Hai Deewani a great watch was the performances from the four key actors. They were perfectly suited to their roles and you cannot imagine them switching places at all.

The soundtrack to Yeh Jawaani Hai Deewani is both refreshing and youthful in nature. Pritam has provided us with some genuinely brilliant music to accompany this film, all of which have been well picturized on the leads. These include ‘Badtameez Dil,’ ‘Balam Pichkari,’ ‘Dilli Wali Girlfriend,’ ‘Subhanallah,’ and ‘Ghagra,’ where the Dhak Dhak girl Madhuri Dixit makes a graceful appearance alongside Ranbir for a special number. After having watched Yeh Jawaani Hai Deewani, you will find yourself only loving the soundtrack even more and will end up listening to the songs again and again due to their catchy flavours.

Overall, Yeh Jawaani Hai Deewani lives up to its title and will offer all you Bollywood lovers with the cinematic entertainment that you are craving for. Had more work been put into its script; then perhaps it would have been even more pleasurable to watch. However, it is still a very well-presented film which contains all the ingredients of a great Bollywood romance. Thus, go and see a film which celebrates nothing but jawaani aur pyaar (youth and love)!

Yeh Jawaani Hai Deewani Movie Review is a post from: BollySpice

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