Very aptly titled 'In the name of the lord',
'khuda kay liye' is a defiant attempt at filmmaking - defiant because it defies the very norm of even the offbeat subjects that cinema can boast of.
Decent performances by the lead cast, especially Shaan ..the music - soulful and melodious. The composer seems to have very skilfully blended the conservative notes with the modern technicalities.
However, the script need to have been more taut... and the emphasis on the trauma that the elder son goes through in police custody could have been more subtle..
some things are more touching if left unsaid....
Naseeruddin shah's speech in the court was pretty quickly done with ... too much was said and quoted in just one scene which was actually very crucial to the script.
All in all, a decent attempt, but the darkness could have been lesser, the morbidity of some scenes,though crucial, could have been dealt with some softness and sensitivity.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Tuesday, 8 April 2008
Thursday, 13 March 2008
JODHA AKBAR
Ashutosh Gowarikar has maintained the consistency of directing films laoded with great casting,soulful music and great performances by the cast, especially hrithik, who stuns you with his flawless diction and persona as does the ever graceful and dignified aishwarya rai...
however, apart from the length and pace of the film which tends to drag at times, its neeta lulla who has marred the otherwise simply yet stylishly created film...
her outfits for jodha are pathetic... they are as ordinarily done as a balaji set-up would have.. the colors were resticted to orange, and yellow mainly ... as a rajput princess, they would have done well to show her in typical rajasthani work, in a myriad of colors,bright fuschias and mauves, reds and blues and creams....sadly, her make-up too made her look pale and washed out.... the costumes in general were a let-down.... if compared to a PAHELI, in which each junior artiste was also very correctly dressed, right down to the right embellishment... which is what makes the film watchable- vivid colors, brightness,transporting one to the era rightaway.
Even the sets, were totally lack lustre.... the mughal architecture and feel were missing... there was no art of that era, no pots or urns or wall murals that are so typically mughal.... poor lighting mars half the visuals and whoever heard of a meeting betwwen kings of several states seated on a simple yellow rug ... the least they could have done was to decorate the tent with lamps and engraved poles and mirrors...however nowhere was there any evidence... it isnt just the language.. which is where sanjay leela bhansali scores depite a weak script. His films create a visual that is easily one that makes you believe in the story...
sometimes its just a certain scenery, a shot with even a bejwelled hand feeding a pigeon that can say a lot about the story....
in case of a historical, no amount of research can make up for the staid sets and costumes....
neeta lulla needs to give up designing , especially for the gorgeous Ash ..she makes her look shabby and unnecessarily made up...
akbars' mother, essayed by mrs.poonam sinha was dismal to say the least. The lady was expressionless.
All in all, a visual disappointment...
mr.gowarikar could have focussed more on the intricacies of the relationship between jodha and akbar... a few more scenes involving their own private moments....
however, apart from the length and pace of the film which tends to drag at times, its neeta lulla who has marred the otherwise simply yet stylishly created film...
her outfits for jodha are pathetic... they are as ordinarily done as a balaji set-up would have.. the colors were resticted to orange, and yellow mainly ... as a rajput princess, they would have done well to show her in typical rajasthani work, in a myriad of colors,bright fuschias and mauves, reds and blues and creams....sadly, her make-up too made her look pale and washed out.... the costumes in general were a let-down.... if compared to a PAHELI, in which each junior artiste was also very correctly dressed, right down to the right embellishment... which is what makes the film watchable- vivid colors, brightness,transporting one to the era rightaway.
Even the sets, were totally lack lustre.... the mughal architecture and feel were missing... there was no art of that era, no pots or urns or wall murals that are so typically mughal.... poor lighting mars half the visuals and whoever heard of a meeting betwwen kings of several states seated on a simple yellow rug ... the least they could have done was to decorate the tent with lamps and engraved poles and mirrors...however nowhere was there any evidence... it isnt just the language.. which is where sanjay leela bhansali scores depite a weak script. His films create a visual that is easily one that makes you believe in the story...
sometimes its just a certain scenery, a shot with even a bejwelled hand feeding a pigeon that can say a lot about the story....
in case of a historical, no amount of research can make up for the staid sets and costumes....
neeta lulla needs to give up designing , especially for the gorgeous Ash ..she makes her look shabby and unnecessarily made up...
akbars' mother, essayed by mrs.poonam sinha was dismal to say the least. The lady was expressionless.
All in all, a visual disappointment...
mr.gowarikar could have focussed more on the intricacies of the relationship between jodha and akbar... a few more scenes involving their own private moments....
Saturday, 5 January 2008
aaja nach le
yashraj has done it again- delivered another half baked attempt at filmmaking..
AAJA NACH LE was a film i looked forward to since dance as a theme is intriguing and madhuri dixit the only one who could possibly communicate through the medium as she 'understands' it completely.
If only yashraj films could have understood a fact as simple as one that attempting to convey a medium as sensitive as dance is not everyones; cup of tea..
Jaideep sahni seems to have begun taking the acccolades coming his way pretty seriously. Its evident that he has not a clue about art-about dance and music.... its the one thing that cannot be attempted by a logical, analytical mind...
The movie doesnt touch a chord at all... the most important thing...the music...its more suited to a regular run of the mill film... the music in this case should be soulful and gut wrenching which it isnt.
Dance at a purely physical levelmay be exercise for most but at an emotional level it gives a person a reason to be... improving the self esteem and in most cases connecting one with the unknown, the divine...
group dancing helps pepole bond socially, help cope with stress, anger, loss and in motivating...heps in reaching out to the world, to life and is extremely calming...
for one to be so committed to the form and to the guru that she drops everything to rush to fulfil his dream of resurrecting the dance theater in the town is wonderful but one cant see a shred of exhilaration, joy or sensitivity.. or a oneness with the divine anywhere...
most dancers are strangely calm, peaceful and passionate...there is love and compassion flowing through their body language and expressions and thats what diferentiates madhuri from the rest of actresses...s he truly 'dance; ...her movements are enchanting and you know that the fluidity, the perfection stems from pure unadulterated love, the grace that creates poetry comes from a devotional sense as opposed to what the others do- exercise...
where in the film did we see anysuch emotion....the girl seems more like a crusader...
after having done a show and igniting the love for dance in many hearts, walks away.. why not show her as a committed woman who stays on for a while, ensuring that the passion, appreciation for art does not die with just one show...
the lady seemd too much in control, too stiff and too sharp...lacking in softness, in sensitivity and tranquility...
the songs wree out of place and forgettable..
someone who has gone though the 'guru-shishya parampara' for years as they hve shown... is more likely to sing and dance to a blend of the traditional and contemporaary...
the opening piece of the guru teaching his shishyas should have been soul searching and a raga would have been more appropriate...
the film was devoid of any warmth and there was absoutely no emphasis on the importance of dance...
the relationship the heroine had with dance might have been explored a little...
it seemed as if it was simply her commitment to the guru- a kind of payback that had to be done...
there was absolutely no need to show that she had eloped with a foreigner... what might have been more appropriate had she defied her parents and gone abroad to pursue the finer nuances of dance.... that would have established the seriousness towards her mission to restore the theater in her home town..
the relationship with the guru too was strangely not explored enough....strange as this was the crux of the whole darned exercise, wasnt it?
being a dancer myself, let me asssure you, there is a uniqueness to the art... it fills you with great love and compassion, pateience and understanding of divine love...
why else is music and dance used as therapy?.. obviuosly because it can heal and evolve in ways unimaginable....but does that sureness, that feeling comes across in the commitment that brought the lady all the way down to india?
no wonder it was such ia flop....
a suggestion- do not attempt things that you are not at one with...
no amount of research on such a subject can ever work...
its time big production houses and star writers realized it and spared us the mockery ...
AAJA NACH LE was a film i looked forward to since dance as a theme is intriguing and madhuri dixit the only one who could possibly communicate through the medium as she 'understands' it completely.
If only yashraj films could have understood a fact as simple as one that attempting to convey a medium as sensitive as dance is not everyones; cup of tea..
Jaideep sahni seems to have begun taking the acccolades coming his way pretty seriously. Its evident that he has not a clue about art-about dance and music.... its the one thing that cannot be attempted by a logical, analytical mind...
The movie doesnt touch a chord at all... the most important thing...the music...its more suited to a regular run of the mill film... the music in this case should be soulful and gut wrenching which it isnt.
Dance at a purely physical levelmay be exercise for most but at an emotional level it gives a person a reason to be... improving the self esteem and in most cases connecting one with the unknown, the divine...
group dancing helps pepole bond socially, help cope with stress, anger, loss and in motivating...heps in reaching out to the world, to life and is extremely calming...
for one to be so committed to the form and to the guru that she drops everything to rush to fulfil his dream of resurrecting the dance theater in the town is wonderful but one cant see a shred of exhilaration, joy or sensitivity.. or a oneness with the divine anywhere...
most dancers are strangely calm, peaceful and passionate...there is love and compassion flowing through their body language and expressions and thats what diferentiates madhuri from the rest of actresses...s he truly 'dance; ...her movements are enchanting and you know that the fluidity, the perfection stems from pure unadulterated love, the grace that creates poetry comes from a devotional sense as opposed to what the others do- exercise...
where in the film did we see anysuch emotion....the girl seems more like a crusader...
after having done a show and igniting the love for dance in many hearts, walks away.. why not show her as a committed woman who stays on for a while, ensuring that the passion, appreciation for art does not die with just one show...
the lady seemd too much in control, too stiff and too sharp...lacking in softness, in sensitivity and tranquility...
the songs wree out of place and forgettable..
someone who has gone though the 'guru-shishya parampara' for years as they hve shown... is more likely to sing and dance to a blend of the traditional and contemporaary...
the opening piece of the guru teaching his shishyas should have been soul searching and a raga would have been more appropriate...
the film was devoid of any warmth and there was absoutely no emphasis on the importance of dance...
the relationship the heroine had with dance might have been explored a little...
it seemed as if it was simply her commitment to the guru- a kind of payback that had to be done...
there was absolutely no need to show that she had eloped with a foreigner... what might have been more appropriate had she defied her parents and gone abroad to pursue the finer nuances of dance.... that would have established the seriousness towards her mission to restore the theater in her home town..
the relationship with the guru too was strangely not explored enough....strange as this was the crux of the whole darned exercise, wasnt it?
being a dancer myself, let me asssure you, there is a uniqueness to the art... it fills you with great love and compassion, pateience and understanding of divine love...
why else is music and dance used as therapy?.. obviuosly because it can heal and evolve in ways unimaginable....but does that sureness, that feeling comes across in the commitment that brought the lady all the way down to india?
no wonder it was such ia flop....
a suggestion- do not attempt things that you are not at one with...
no amount of research on such a subject can ever work...
its time big production houses and star writers realized it and spared us the mockery ...
Friday, 27 July 2007
music trivia
MUSIC TRIVIA
THE YEAR 1965
Laxmikant-Pyarelal’s Lootera has the hits, ‘Raat se kaho ruke zara...’, and ‘Neend nigahon se kho jaati hai...’
The numero uno composers, Shanker-Jaikishan have split and S-J are composing separately under the famous baton.
Jaikishan charges a mind-boggling Rs 5 lakhs for composing Ramanand Sagar’s ARZOO. ARZOO has hits‘Ae phoolon ki rani..’ (mischievously reworked from Naushad’s ‘Hameen se mohabbat...’ in Leader), ‘Bedardi baalma tujhko...’, ‘Aji rooth kar...’, and ‘Chhalke teri ankhon se...’. Ramanand Sagar then calls Shankar to compose the mujra, ‘Jab ishq kahin ho jaata hai...’ and reveals that he has to pay the same amount for just one song!
S-J’s GUMNAAM features the cult Mehmood hit by Rafi, ‘Hum kaale hain to kya hua dilwale hain...’. Lata’s haunting title-track, Rafi’s ‘Jaan pehchaan ho...’ and Lata’s ‘Is duniya mein jeena hai to...’ are the other hits of this thriller.
JAANWAR finds another S-J-Shammi Kapoor winner with perennials like ‘Lal chhadi maidaan khadi...’, ‘Meri mohabbat jawaan rahegi...’, ‘tumse accha kaun hai...’ and ‘Mere sang aaa gungunaa...’.
Anil Biswas composes his swan song (‘Chhoti chhoti baatein...’) with Shailendra as his lyricist, and quits films to move to Delhi and join All India Radio.
Maestro SD Burman gives one of his career-greatest scores in GUIDE and sings the memorable ‘Wahaan kaun hai tera...’. His ‘Aaj phir jeene ki tamanna hai...’ begins with the antara, and is created, recorded and sent by Dada to the Anand brothers with the assurance “I will send you a song that the world will remember”.
‘Din dhal jaaye...’, ‘Kya se kya ho gaya...’ and ‘Tere mere sapne...’ are the three Rafi gems that he creates for posterity, while ‘Gaata rahe mera dil...’, ‘Mose chhal kiye jaaye...’, ‘Piya tose naina laage re...’ and ‘Allah megh de...’ create history clearly displaying his expertise in both classical music and folk music and expertly blending the two.
Dada’s other winner that year is TEEN DEVIYAAN. Majrooh spills the beans
and reveals that assistant Jaidev composed the basic tune of ‘Kahin bekhayaal hokar...’, but Dada also creates wonders like ‘Arey yaar mere tum bhi ho gazab...’, ‘Aise to na dekho...’, ‘Likha hai teri aankhon mein...’ and ‘Khwaab ho tum...’.
Roshan’s BHEEGI RAAT is melody revisiting, ‘Dil jo na keh sakaa...’ is in different Lata and Rafi versions, while Neeraj, the poet extraordinaire, steps into the limelight with ‘Kaarvaan guzar gaya...’ and ‘Dekhti hi raho aaj darpan na tum...’ in Nai Umar Ki Nai Fasal.
Khayyam’s intoxicating Suman-Rafi duet, ‘Thehriye hosh mein aa loon...’in MOHABBAT ISKO KEHTE HAIN, Salil Choudhury’s ’spiritual Lata hit ‘Tujh bin jiya udaas re...’ and veteran Hansraj Behl’s last hit ‘Jahaan daal daal par sone ki chidiya...’ in SIKANDAR-E-AZAM endure to this day.
Madan Mohan’s NEELA AKASH is remembered for ‘Aap ko pyar chhupane ki...’. In RISHTE NAATE, Lata Mangeshkar is the only singer— a feat he again achieves in PRABHAAT eight years later.
Chitragupta delivers memorabilia like ‘Jaag dil-e-diwana...’, ‘Aaja re mere pyar ke raahi...’, ‘Haaye re tere chanchal nainwa...’ (OONCHE LOG), ‘Bahut haseen hai tumhari ankhen...’ (AADHI RAAT KE BAAD) and ‘Mujhe dard-e-dil ka pataa...’ (AKASH DEEP). In the last film, he composes the awesome Lata solo, ‘Dil ka diya jalaake gaya...’. Usha Khanna’s EK SAPERA EK LOOTERA is marked by the immortal Rafi solo ‘Hum tum se juda hoke...’.
THE YEAR 1965
Laxmikant-Pyarelal’s Lootera has the hits, ‘Raat se kaho ruke zara...’, and ‘Neend nigahon se kho jaati hai...’
The numero uno composers, Shanker-Jaikishan have split and S-J are composing separately under the famous baton.
Jaikishan charges a mind-boggling Rs 5 lakhs for composing Ramanand Sagar’s ARZOO. ARZOO has hits‘Ae phoolon ki rani..’ (mischievously reworked from Naushad’s ‘Hameen se mohabbat...’ in Leader), ‘Bedardi baalma tujhko...’, ‘Aji rooth kar...’, and ‘Chhalke teri ankhon se...’. Ramanand Sagar then calls Shankar to compose the mujra, ‘Jab ishq kahin ho jaata hai...’ and reveals that he has to pay the same amount for just one song!
S-J’s GUMNAAM features the cult Mehmood hit by Rafi, ‘Hum kaale hain to kya hua dilwale hain...’. Lata’s haunting title-track, Rafi’s ‘Jaan pehchaan ho...’ and Lata’s ‘Is duniya mein jeena hai to...’ are the other hits of this thriller.
JAANWAR finds another S-J-Shammi Kapoor winner with perennials like ‘Lal chhadi maidaan khadi...’, ‘Meri mohabbat jawaan rahegi...’, ‘tumse accha kaun hai...’ and ‘Mere sang aaa gungunaa...’.
Anil Biswas composes his swan song (‘Chhoti chhoti baatein...’) with Shailendra as his lyricist, and quits films to move to Delhi and join All India Radio.
Maestro SD Burman gives one of his career-greatest scores in GUIDE and sings the memorable ‘Wahaan kaun hai tera...’. His ‘Aaj phir jeene ki tamanna hai...’ begins with the antara, and is created, recorded and sent by Dada to the Anand brothers with the assurance “I will send you a song that the world will remember”.
‘Din dhal jaaye...’, ‘Kya se kya ho gaya...’ and ‘Tere mere sapne...’ are the three Rafi gems that he creates for posterity, while ‘Gaata rahe mera dil...’, ‘Mose chhal kiye jaaye...’, ‘Piya tose naina laage re...’ and ‘Allah megh de...’ create history clearly displaying his expertise in both classical music and folk music and expertly blending the two.
Dada’s other winner that year is TEEN DEVIYAAN. Majrooh spills the beans
and reveals that assistant Jaidev composed the basic tune of ‘Kahin bekhayaal hokar...’, but Dada also creates wonders like ‘Arey yaar mere tum bhi ho gazab...’, ‘Aise to na dekho...’, ‘Likha hai teri aankhon mein...’ and ‘Khwaab ho tum...’.
Roshan’s BHEEGI RAAT is melody revisiting, ‘Dil jo na keh sakaa...’ is in different Lata and Rafi versions, while Neeraj, the poet extraordinaire, steps into the limelight with ‘Kaarvaan guzar gaya...’ and ‘Dekhti hi raho aaj darpan na tum...’ in Nai Umar Ki Nai Fasal.
Khayyam’s intoxicating Suman-Rafi duet, ‘Thehriye hosh mein aa loon...’in MOHABBAT ISKO KEHTE HAIN, Salil Choudhury’s ’spiritual Lata hit ‘Tujh bin jiya udaas re...’ and veteran Hansraj Behl’s last hit ‘Jahaan daal daal par sone ki chidiya...’ in SIKANDAR-E-AZAM endure to this day.
Madan Mohan’s NEELA AKASH is remembered for ‘Aap ko pyar chhupane ki...’. In RISHTE NAATE, Lata Mangeshkar is the only singer— a feat he again achieves in PRABHAAT eight years later.
Chitragupta delivers memorabilia like ‘Jaag dil-e-diwana...’, ‘Aaja re mere pyar ke raahi...’, ‘Haaye re tere chanchal nainwa...’ (OONCHE LOG), ‘Bahut haseen hai tumhari ankhen...’ (AADHI RAAT KE BAAD) and ‘Mujhe dard-e-dil ka pataa...’ (AKASH DEEP). In the last film, he composes the awesome Lata solo, ‘Dil ka diya jalaake gaya...’. Usha Khanna’s EK SAPERA EK LOOTERA is marked by the immortal Rafi solo ‘Hum tum se juda hoke...’.
Saturday, 28 April 2007
TA RA RUM PUM PUM
TA RA RUM PUM was just what I expected… a lesson in boredom… lousy music, bad screenplay and horrid styling…
However, it was heartening to see the couple stand by each other regardless of the bad times. For once, there were no dramatic outbursts and fights.
Also, what I want all you guys out there reading this to know is that the movie inspires us to fight for what we want in life. To take risks.
It tells a story about this racer who is a winner all the way and suddenly finds himself out of work thanks to a freak accident on the tracks. His fear of failing gets the better of him and he soon finds himself out of work and living in the dumps with his wife and two kids.
But what brings him back his lost glory is when he realizes he could lose his loved one and he decides to fight his fears and win because there is no other option left but to win.
That set me thinking. Life could be a winning game for us all if we gave ourselves no options.
Every person on earth has a gift, in some, the gift manifests itself spontaneously; others have to work to discover what it is.
There are moments when you have to take a risk, to do crazy things. Sure there are sufferings and defeats ..we cant avoid them. But its better to lose some of the battles in the struggle for your dreams than to be defeated without ever even knowing what you’re fighting for...
And the one thing that gives us the courage to fight for our dreams, take risks, is… love.
It makes us grow, slowly transforming us, helping us to have faith in god, in ourselves, in our dreams…
But we need to look for it courageously, and soon enough we begin to attract love of many kinds in ways unimaginable. Yes, love does conquer all but only when all oor inner battles have been fought and won.
To fear, is the easiest …but I have never believed or wanted the easy way out in life because ease brings with it a lack of hope, a dull acceptance and a laid back, selfish attitude that only teaches you to live for yourself, to love only yourself .
I’ve often wondered at the age of 17, where I had the energy and the drive to pursue so many things?
At a time when a financial crisis had hit the family, with ailing parents and a directionless life… what made me try harder… with each fall being harder, each attempt bringing with it more loss, rejection and humiliation?
All I had with me were my dreams, - a dream of making it big, a dream of giving my parents all that they deserved, a dream of having a loving home, of nurturing all the strays that my heart went out to…
Of being able to reach out to the millions who needed love…
Of making a difference…
… and all this when I had no idea where and how to begin… I had no guidance but just a strong desire ... to live life passionately and fully…
I recall, when it seemed that the darkness would never end, I only had to retreat into my land of dreams… of the life I so badly wanted for myself and my loved ones.. of never wanting to settle for anything but the best….
I wanted to be happy, curious, joyous, living every moment intensely, drinking the water of life thirstily.
‘Dreams mean work’ said a writer once.
Work at loving passionately, love yourself, love life, love your work, and allow it to give you the courage to work at your dreams!
type="text/javascript">statisfy('3aygMXGQPH0gK2cI1rzc31qeTXf3StcB');
However, it was heartening to see the couple stand by each other regardless of the bad times. For once, there were no dramatic outbursts and fights.
Also, what I want all you guys out there reading this to know is that the movie inspires us to fight for what we want in life. To take risks.
It tells a story about this racer who is a winner all the way and suddenly finds himself out of work thanks to a freak accident on the tracks. His fear of failing gets the better of him and he soon finds himself out of work and living in the dumps with his wife and two kids.
But what brings him back his lost glory is when he realizes he could lose his loved one and he decides to fight his fears and win because there is no other option left but to win.
That set me thinking. Life could be a winning game for us all if we gave ourselves no options.
Every person on earth has a gift, in some, the gift manifests itself spontaneously; others have to work to discover what it is.
There are moments when you have to take a risk, to do crazy things. Sure there are sufferings and defeats ..we cant avoid them. But its better to lose some of the battles in the struggle for your dreams than to be defeated without ever even knowing what you’re fighting for...
And the one thing that gives us the courage to fight for our dreams, take risks, is… love.
It makes us grow, slowly transforming us, helping us to have faith in god, in ourselves, in our dreams…
But we need to look for it courageously, and soon enough we begin to attract love of many kinds in ways unimaginable. Yes, love does conquer all but only when all oor inner battles have been fought and won.
To fear, is the easiest …but I have never believed or wanted the easy way out in life because ease brings with it a lack of hope, a dull acceptance and a laid back, selfish attitude that only teaches you to live for yourself, to love only yourself .
I’ve often wondered at the age of 17, where I had the energy and the drive to pursue so many things?
At a time when a financial crisis had hit the family, with ailing parents and a directionless life… what made me try harder… with each fall being harder, each attempt bringing with it more loss, rejection and humiliation?
All I had with me were my dreams, - a dream of making it big, a dream of giving my parents all that they deserved, a dream of having a loving home, of nurturing all the strays that my heart went out to…
Of being able to reach out to the millions who needed love…
Of making a difference…
… and all this when I had no idea where and how to begin… I had no guidance but just a strong desire ... to live life passionately and fully…
I recall, when it seemed that the darkness would never end, I only had to retreat into my land of dreams… of the life I so badly wanted for myself and my loved ones.. of never wanting to settle for anything but the best….
I wanted to be happy, curious, joyous, living every moment intensely, drinking the water of life thirstily.
‘Dreams mean work’ said a writer once.
Work at loving passionately, love yourself, love life, love your work, and allow it to give you the courage to work at your dreams!
type="text/javascript">statisfy('3aygMXGQPH0gK2cI1rzc31qeTXf3StcB');
Tuesday, 6 March 2007
understanding sound
I'm almost impelled to reinvent the term 'choreography'....
Apalling is the way songs are choregraphed in cinema. Barring a few dancers who have developed the rare art of understanding and mastering the slick 'shiamak davar' style of dance, the rest need to understand what choreography really is...
First, its never really about dancing. Sure, dance is one part of it but yes, certainly not the gyrating and pelvic thrusting kind of dance that is passed off as belly dancing.
These are art fors that need to be respected independently...but why must we almost always have the usual attrocious mix of acrobatics and a distorted form of Indian dance which interprets no form?
Dance is actually about being rhythmic... about truly relating to the sound and responding stylishly....its about being in sync with that sound and rhythm.... its about adding something to the song...beautifying it.. moving your body -letting it understand the sound and feel and allowing it to react.... then simply fine tuning that movement into something artistic and graceful. The body while dancing, should give the feel of a fluidity, a sense of liberation, a dignity and poise that can never be trained. When we dance, we surrender to the soul responding to the sound - a love for the sound... unspoken, untouched, raw and divine...
Which is perhaps why Hrithik is always a delight to watch... he takes you to heights unexplored with his grace. No matter how complicated the movements maybe, yet his natural ease and dignity make it graceful and lyrical.
However, choreography is not about dancing always.
Its about depicting an emotion with subtlety. Using different things to interpret the emotion, the mood, about capturing the moment using music and sometimes simply the sounds of nature like the rains, rippling of the water in the river.... the gushing and whistling of the breeze....
things need not be theatrical...they can be sensitive and quiet as well. Soetomes simply the echoing of distant birds in the silence.
Music and choreography is to be used to capture a moment- enhancing it.
'Ek ladki ko dekha to aisa laga...' from '1942, a love story' is one such piece of choreography or the recent hrithik number 'dhoom again' in Dhoom 2 that is brilliant and artistically done...
Can we have more of such kind please?
Apalling is the way songs are choregraphed in cinema. Barring a few dancers who have developed the rare art of understanding and mastering the slick 'shiamak davar' style of dance, the rest need to understand what choreography really is...
First, its never really about dancing. Sure, dance is one part of it but yes, certainly not the gyrating and pelvic thrusting kind of dance that is passed off as belly dancing.
These are art fors that need to be respected independently...but why must we almost always have the usual attrocious mix of acrobatics and a distorted form of Indian dance which interprets no form?
Dance is actually about being rhythmic... about truly relating to the sound and responding stylishly....its about being in sync with that sound and rhythm.... its about adding something to the song...beautifying it.. moving your body -letting it understand the sound and feel and allowing it to react.... then simply fine tuning that movement into something artistic and graceful. The body while dancing, should give the feel of a fluidity, a sense of liberation, a dignity and poise that can never be trained. When we dance, we surrender to the soul responding to the sound - a love for the sound... unspoken, untouched, raw and divine...
Which is perhaps why Hrithik is always a delight to watch... he takes you to heights unexplored with his grace. No matter how complicated the movements maybe, yet his natural ease and dignity make it graceful and lyrical.
However, choreography is not about dancing always.
Its about depicting an emotion with subtlety. Using different things to interpret the emotion, the mood, about capturing the moment using music and sometimes simply the sounds of nature like the rains, rippling of the water in the river.... the gushing and whistling of the breeze....
things need not be theatrical...they can be sensitive and quiet as well. Soetomes simply the echoing of distant birds in the silence.
Music and choreography is to be used to capture a moment- enhancing it.
'Ek ladki ko dekha to aisa laga...' from '1942, a love story' is one such piece of choreography or the recent hrithik number 'dhoom again' in Dhoom 2 that is brilliant and artistically done...
Can we have more of such kind please?
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