Favourite rain song? Bollywood responds

Favourite rain song? Bollywood responds

Be it the softly romantic ’Pyar hua iqraar hua’ from Sri 420 or the frankly sensual ’Aaj rapat jayen’ from Namak Halaal, rain songs have been a constant in Bollywood films down the ages. Here, stars and directors list their favourites:

Saif Ali Khan My favourite rain song will have to be ’Tip tip barsa pani’ from the film Mohra. I like the lyrics and the ambience created by the tune.

Hema Malini: I’ll choose one of my own songs. It will have to be ’Rama rama gazab’ from Naya Zamana. It was a scene where this rich girl gets in a folk costume and sings and dances in the rain with the folks in the basti. I loved the simplicity and grace of the moment. And it was filmed with great dignity.

Shabana Azmi: ’Pyar hua iqraar hua’ from Sri 420.
It contains the iconic image of Nargis singing to Raj Kapoor with her entire soul embodied under the umbrella as the three little kids (actually, Raj Kapoor’s real-life children) pass by.

Urmila Matondkar: ’Pyar hua iqraar hua’ in Sri 420 had an unforgettable melody by Shankar-Jaikishan, truly sensuous sung by Manna Dey and Lata Mangeshkar and great chemistry between Raj Kapoor and Nargis. I also love my own ’Geela geela pani’ from ’Satya’. Lataji’s voice, Vishal Bharadwaj’s composition and Gulzar saab’s lyrics soak you in ravishing rain even if you are perched in a parched desert.

Alka Yagnik: ’Rimjhim ke geet saawan gaye’ by Lataji and Mohammad Rafi saab in Anjana and my own ’Tip tip barsa pani’ from Mohra, for different reasons - first one because it’s the height of romance and the other because it’s very seductive.

Bappi Lahiri: My favourite rain song is ’Aaj rapat jayen’ from Namak Halaal because Amitji (Amitabh Bachchan) and Smitaji (Smita Patil) danced so well in the rain. I also like ’Tip tip barish’ from Afsana Pyar Ka where Aamir Khan stood the whole night in the rain singing to his beloved. Very romantic!

Vipul Shah: ’Pyar hua iqrar hua’ from Sri 420 because it’s romantic and sexy, and still not vulgar.

Aftab Shivdasani: ’Tip tip barsa pani’ from Mohra, I had loved it on the audio. I loved it even more when I saw it on screen featuring Akshay Kumar and Raveena Tandon.

Mahesh Bhatt: It will have to be ’Dil tera diwana hai sanam’. The black and white film Dil Tera Diwana, which I saw in primary school, still twinkles in my mind. It was a great tune by Shankar-Jaikishan. And there were super performances by Shammi Kapoor and Mala Sinha soaked in rain and marinated in the spice of nostalgia.

Pritam Chakbraborty: ’Rimjhim gire sawan’ in Manzil. I love the song. Awesome composition by Rahul Dev Burman, fabulous lyrics by Yogesh and terrific singing
by Lata Mangeshkar and Kishore Kumar. And it was shot on Amitabh Bachchan and Moushumi Chatterjee on Marine Drive. I loved the chemistry between them. I also like ’Dilbara’ from Dhoom because it’s my tune and I like how Abhishek Bachchan, Uday Chopra and Esha Deol romp in the rain.

Zayed Khan: It would have to be ’Kaate nahin kat-te yeh din yeh raat’ from Mr. India. It had Sridevi in a wet blue chiffon sari at her sensuous best. She projected the quintessential Indian woman. Simply super!

Rahul Bose: Sridevi in ’Kate nahin kat-te yeh din yeh raat’ gave an entirely new definition to the ’blue wet Indian clingy sari’ trick. She was in splendid form. Pure magic. And the rains did the rest.

Rituparno Ghosh: ’Chotisi kahani se, baarishon ke paani se’ in the film Ijaazat. Gulzar bhai has written other rain songs like ’Barse phuhar’ in ’Thodisi Bewafaii’ and ’Phirse aayo barda bidesi’ in Namkeen. But the ’Ijaazat’ song remains special. It defined the entire mood of the film. I wish I could’ve used it in my own film Raincoat.

Madhur Bhandarkar: My favourite rain song is ’Rimjhim gire saawan’ from Manzil. It has an earthy aromatic feel to it and has been shot candidly in the streets of Mumbai.

Aadesh Shrivastava: ’Bheegi-bheegi raaton mein’ from Ajnabee sung by Kishore da and Lata Mangeshkar. What I like the most about the song is the on-screen pair Rajesh Khanna and Zeenat Aman.

Manoj Bajpai: ’Rim-jhim gire sawan’ in Manzil. It’s simple yet sensuous. I don’t like in-the-face sensuality. I don’t think we can capture that mood ever again. We aren’t that simple any longer.

David Dhawan: ’Hai hai yeh majboori’ in Roti Kapda Aur Makaan. Laxmikant-Pyarelal’s tune, Lataji’s singing, Zeenat Aman on screen and Manoj Kumar’s direction. What else?

Raveena Tandon: ’Ab ke sawan’ by Shubha Mudgal. It has amazing energy. And it immediately makes me want to get wet and wild in the rain. ’Lagi aaj sawan ki phir vo jhadi hai’ in Chandni when the rain makes me mellow moody and romantic.

Rajit Kapur: ’Rimjhim gire sawan’ - it’s a brilliant composition, serene and sensuous, fragrant and romantic, and to this day, as fresh as the first showers.

Sammir Dattani: I’ve three favourite rain songs from three eras. I love ’Tip tip baarish shuroo ho gayi’ from Afsana Pyar Ka. As kids we all loved to get wet and sing this number because it was so easy to sing. My second favourite is ’Lagi aaj sawan ki Phir vo jhadi hai’ from Chandni. It’s filled with romance and nostalgia and Sridevi was so dignified in the rain.
Finally, my new favourite rain song is ’Barso re megha’ from Guru. For one reason only - Aishwarya Rai.

Striker Movie Review

When it comes to indoor sports, Carrom scores like no other.

Unlike Chess, it's not entirely dependent on an analytical mind or a stroke of luck for the dice to be cast in one's favor as is the case with Ludo. In addition to brains and fortune, it also asks for a deft pair of fingers. Though some may argue its degree of dynamism, fans of the game will vouch how they experience pure bliss on hearing the clicking sounds of a smooth striker against the boric powder-brushed wooden board.

The metaphors of carrom form the backdrop of Chandan Arora's Striker, which travels to and fro in the 70s, 80s and 90s to draw a connection between its key player of dubious morals, his murky circumstances and his quest to find a cover for his queen without succumbing to deceit.

And what a match it turns out to be.

An exciting, non-linear narrative opens with an anxious young man (Surya played by Siddharth) unsuccessfully persuading a cabbie to drop him till Malwani. It's the last month of 1992, a hauntingly dark, distressing time for Mumbai [ Images ], addressed as Bombay in the film and around that period.

At first he bumps into a group of Hindu fanatics who promptly apply a fierce red tilak on his forehead as a gesture to acknowledge him as one of his own. The mark is subsequently wiped off and substituted with a bandana around his head after he encounters yet another angry mob of Muslim fundamentalists.

Daunted by such close run-ins, Surya begins to run like he means it. Thus unfolds a potpourri of flashbacks which reveal us the true nature of his personality and the direction it's headed to on its conclusion.

From raw, shrewd and volatile to scaly, stark and composite, Striker, inspired by true stories, raises a sea of grim adjectives so vigorously employed in its script and the protagonists it leads to, you cannot help but stay gripped and glued.

The focus shifts upon his young life as a boy, dwelling in the crammed ghetto of Malwani (in suburban Mumbai), skipping school but taking to carrom after watching a discerning session between his elder brother and adversary. Even as they indulge in a seemingly harmless pastime, the lure of making some money out of the same introduces them to the menace and mercy of local don, Jaleel. Meanwhile he learns the tricks of the trade well enough to bag a National championship at junior-level.

Carrom takes a backseat as he gets busy growing up to make a living and serenade the girl next door (Nicolette Bird), a breezy albeit inter-religious romance that's nipped in the bud at the event of discovery. It's only when his best buddy Zaid (Ankur Vikal), a free-spirited, cocaine-driven, hyperactive, street-smart ruffian convinces him to put his striking skills to good use, Surya begins to get intimate with the underbelly of his sinister neighbourhood letting us inside an intently multi-leveled and incisive chain of thrilling episodes.

Arora keeps it taut and nail-biting all through especially when he works the movie's mood around a game. One of the most noteworthy moments of Striker involve a crucial match wherein tension mounts up owing to a significant character proving to be a constant source of irritation and all this while you anticipate foul play just around the corner.

It's a terrific build up to precisely-timed dread. Considering the going-ons in the film are too many and too integral to ignore, it's imperative to pay attention, which I am assuming will be a bone of contention for many.

The complexities and fast-paced nuances of its script are perceptively captured in P S Vinod's flawless camerawork and reverberated effectively through Striker's eclectic soundtrack, in particular Vishal Bhardwaj [ Images ], Amit Trivedi as well as Shri's rousing background score.

Clearly, Striker doesn't aim at being a bam-wham kind of flick. Instead it offers a study into the uneasy coming-of-age of an individual on-the-fence over the life he wants to embrace. Surya is neither as manipulative as Kaminey [ Images ]'s Charlie nor as dignified as Slumdog Millionaire [ Images ]'s Jamal. But they all have one thing in common -- a desperate need to get out of the rut.

An astutely-penned drama for most part it's not entirely devoid of hiccups. Like the face-off between Anupam Kher's [ Images ] good cop quipping about Kapil Dev's [ Images ] yorker in retort to bad guy Aditya Panscholi's cricket reference to Imran Khan's [ Images ] bowling.

Apart from this shred of cross-border jingoism, there's an entire sub-plot that owes it 'rape redeemed by marriage' roots to Anil Kapoor-Juhi Chawla's 1994 melodrama, Betaaj Badshaah. It's one of the most unnecessary chapters in the movie doing absolutely nothing to move or prop the story.

Ultimately what makes Striker a big deal is not its obviously visceral atmosphere or the various tangents it branches into but an impressive ensemble of little to unknown faces that allow you to interpret the story with an entirely fresh perspective. With the glaring exception of Panscholi who plays a scar-faced gang lord in the exaggerated tone of a Sanjay Gupta crime caper, all other actors, lend a little something to the scene.

Ankur Vikal's abundant flow of physical energy and expression resembles the likes of Pawan Malhotra, Makarand Deshpande and Deepak Dobriyal [ Images ], which if honed in the right direction could produce something spectacular. Even as Anupam Kher keeps it wonderfully restrained the women in Surya's life played by Padmapriya [ Images ], Nicolette Bird Seema Biswas and Vidya Malvade, despite the briefness of their parts, lend Striker its only source of warmth.

But this is a Siddharth vehicle from start to finish. To his credit, the Rang De Basanti [ Images ] star channelises his spontaneous presence to slip nimbly under the skin of a carrom genius, shifting his body language from a concentrating player to a smooth-talking, snarky lad entangled in a web of crime with restraint and conviction.

An interesting film with a lot on its mind, Striker isn't comfort cinema but I will recommend it anyway.

source : Rediff.com

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Radio Movie, Radio Songs, Radio Movie Review, Download Free Radio Movie Songs

FIRST THINGS first. People love to hate Himesh Reshammiya, and unfortunately, this film offers them plenty of fodder to snigger and be unkind to him. It’s such a waste to see someone who has an unique sound fall prey to ambition and join the wannabe actor brigade.

Himesh plays the ‘kewl’ popular radio jockey Vivaan who plays ‘love guru’ on his radio show, when his own life is a mess (his wife, newcomer Sonal Sehgal, asks for divorce right at the start of the film). A vivacious woman (Shernaz Treasurywala) enters his life and falls in love with him. The film is about a man caught between two women. Should be simple, right? An obsessive ex-wife who is jealous of his new girlfriend, a new girlfriend unsure about the feelings he has for his ex, and then the man himself. But there is no conflict, no drama, which in turn means, this film is very tepid, and when you see the ham-handed treatment of the subject, you know someone has set it up for sniggers instead of appreciation.

All through the film the writer-director tells us how modern the triangle is through platitudes and phrases from pop psychology, social networking sites and self- help books: ego hassles, confused, complicated relationships, relationship status, compatibility, closure, die-hard romantic and so on. It’s annoying to hear a character say, ‘l am in denial’ not once but several times through the bollywood movie. The other characters are similarly reduced to caricatures and you wonder why Paresh Rawal wasted his precious fifteen minutes. The music is one saving grace of the film but the rest of it borders so much on the ridiculous that we come away hoping someone will box Himesh’s ears and tell him to quit acting and stick to his unique brand of music.

Bollywood Hindi Movie Review Coffee House

With due respect to Mahatma Gandhi's words 'You must be the change you wish
to see in the world, it is one thing to inspire change and another to
pretend.' White Coffee House might have the noblest intention, its execution
makes it took shallow.

It's the story of resolute Indians who frequent a city coffee shop
predictably called Coffee House. a refuge for devising revolutionary ideas
to change corrupt governance. Ash utosh Rana plays an aggressive journalist
and theatre group owner who is assisted by his wife played by Saakshi
Tanwar. He has a posse of young. unemployed lads following his lead, all
driven by that long lost freedom fighter's spirit. Multiple tracks in the
narrative introduce stereotypes like sleeping with the boss, angry young man
and traumatised old parents.

The cinematography. direction and editing are the three musketeers of doom
for this movie. None of them work out to even passable standards. Recover
from out-of-focus scenes and you'll have to deal with the dismal acting
talents of Aman Dhaliwal, Neha Mishra and Saakshi Tanwar.

If the aim of the film was to talk about corruption. lack of awareness and
change in governance, why employ cheap cinematic tricks like sleazy item
numbers and stand alone comedy'? Why dilute the 'united we stand' spirit?
Director Gurbir Singh Grewal should either have made a convincing festival
film or an outright commercial entertainer. Sail two boats and your film
ends up like an amateur street play.

The film did not do well on box office but we still hope for a hit from
Gurbir Singh Grewal in recent days.

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LONG, LONG AGO, before music videos became the talk of the town, a beautiful heroine walked out through the clouds in a dream sequence and the good-looking hero gawked and they sang. The song played itself into the collective thought of the nation and one of the reasons was that the
picturisation laid the foundation of strong visuals for strong music, generally a mainstay for many an immortal number. A couple of generations
after Awara caught the attention of a nation that thrives on dreams, we continue to produce great music and our cinematography is improving by leaps and bounds.


Music videos have entered our bloodstream and, in cinema, the director not
only gets a captive audience to watch his film, he can also experiment and
have fun filming the song sequences, without which no self respecting Indian
film is complete. Yet, we have seen many great bollywood songs that, when heard, enter
our hearts, occupy our thoughts and present themselves as song on our lips.
But when we wait for an hour in the theatre to see how well it is
picturised, we are woken up, a liffle dazed. Rehna tu from Dilli 6 is to my
mind a path breaking song in Indian cinema; it has a great tune, is deeply
passionate and resonant, and mixes old Indian tunes with the latest
technological wizardry The lyrics are fantastic and it had the potential to
redefme the way Hindi songs are played out. So we waited, after the
movie began, to find the song playing itself into obscurity as Rishi Kapoor
and Abhishek Bachchan are driven through the streets of Delhi and end up
having beer and playing a game of pool in an old house. Good acting, great
cinematography, poignant scene. But what on earth was the song doing there?
And, more importantly, what was the scene doing in that song???

And I flashback to a couple of years ago when the soundtrack of Guru was
released. A brffliant number, Dum tara, was an auspicious note to set up the
movie for release. And then the song and even Mani Ratnam, that genius of
filmmakers, failed us. The song fell, and the movie went through with
itself. An opportunity to carve itself into the annals of Indian film music
went abegging. Recently, two fine numbers, the peppy Khabar na/tin from
Dostana and Kahin toh from Jaane Tu... Ya Jaane Na both looked like, to
borrow a football term, penalty kicks shot wide. The set-up was there, the
inahaul was created and then lost with absurd goings on, onscreen. Perhaps
the songs would have been happiest being in our memory with our own thoughts
around what might have been. Too bad, we went to watch the film, so we
remembered the film and forgot the song. Rewinding to the RD Burman era,
many bollywood Hindi songs were themselves powerful enough to move the film forward, but
scant respect for the screen shots was visible.Roz roz aankhon tale from
Jeeva, Tu tu ham vahin from Yeh Vaada Raha and Kya yahi pyaar hai from Rocky
were all wasted opportunities to score. That the songs still remain on our
lips is true testimony to the sheer quality of the music. A word of advice
for incipient filmmakers: please do watch how Guru Dutt, Vijay Anand and V
Shantaram made the songs organic to the film. It is not always true that the
context of the film decides if we hum the number to our grave. However, in
an age when the music video itself has become a profession and great videos
have rocketed average songs to the top of the charts and mediocre artistes
to stardom, our expectation from good directors to back up the music with
deep and relevant screens is justified. Otherwise, like the ironically named
Rehna tu, the song might not remain in our memory.. Hai jaisa tu... thoda sa
dard tu, but no sukoon.

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