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Friday, September 25, 2009
London Dreams (2009): Movie Wallpapers
Movie: London Dreams
Year: 2009
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All The Best (2009): Movie Wallpapers
Movie: All The best
Year: 2009
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Tum Mile (2009): Movie Wallpaper
Movie: Tum Mile
Year: 2009
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Aladin (2009): Movie Wallpapers
Movie: Aladin
Year:2009
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Year:2009
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- Aladin (2009): Bollywood Mp3 Songs
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- Aladin (2009): Movie Review
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Fast Forward Movie Review
By Taran Adarsh, September 25
Films like DIRTY DANCING and GREASE have enthralled millions of moviegoers across the globe. There have been few attempts to make out-and-out dance-based films in Bollywood, although there’s a barrage of dance-based shows on television these days.
FAST FORWARD, directed by debutante Zaigham Ali Syed, has some brilliantly choreographed songs, but there’s a hitch: Absence of a gripping storyline.
Actually, FAST FORWARD stands on a faulty story and the patchy screenplay only worsens the situation. The sole redeeming aspect of the enterprise is the dance numbers. That’s it!
FAST FORWARD tells the story of two friends, Rehan Khan and Akshay Kapoor, who are exceptional dancers. Akshay falls in love with Rehan’s sister Bhavna Pani, only to discover she was suppressing her burning desire to dance. Akshay shows Bhavna a whole new world through dance, but unknowingly they revive Rehan’s painful and dark past.
The story is full of contradictions. Firstly, the lead man is haunted by visions of his mother performing dances at sleazy joints and surprisingly, he aspires to be an accomplished dancer some day. But the moment his kid-sister wears her dancing shoes and starts gyrating, he actually throws a fit and gets those visions again that haunt him. Strange!
Here’s another gaffe. When Rehan’s buddy Akshay professes love to Rehan’s kid-sister Bhavna, all hell breaks lose. Rehan severs all ties with Akshay, opts out of the dance group, even bashes him and also detests his sight. Sure, Akshay has a roving eye, but even to the viewer, his intentions this time [for Bhavna] seem honest, so why this fuss? Suddenly, in the finale, there’s a change of heart too!
The climax fight between Vinod Khanna and Mahesh Manjrekar is ridiculous. Khanna bashes up a dozen-odd villains like a 20-year-old would, which is hard to digest. Something like this may have worked when Khanna was in his prime, not today.
Zaigham seems technically adept, but he’s letdown by a tacky script. The songs are okay, although the choreography is top notch. ‘Taali Bajao’ – towards the end credits – is the best of the lot.
The youngsters pitch in decent performances. Rehan is natural. Akshay is equally at ease. Bhavna makes a sincere attempt. Siddhanth Karnick and Sabina Sheema are perfect. Each of them is exceptional in dancing. Vinod Khanna and Mahesh Manjrekar are wasted.
On the whole, FAST FORWARD is a weak product.
Ratings: (1/5)
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London Dreams (2009): Music Review
By Joginder Tuteja, September 22
EXPECTATIONS
There are bound to be very good expectations from London Dreams. After all, it is a film which has a musical background to it, has composers Shankar-Ehsaan-Loy at the helm of affairs and brings them together with Prasoon Joshi from whom one expects poetic lyrics. Add to that, the fact that each of the earlier films of Vipul Shah [Singh Is Kinng, Namaste London, Waqt - Race Against Time and Aankhen] has boasted of immensely successful music and one can’t help but expect London Dreams to present some chartbuster tracks as well.
MUSIC
Now this one is a full on ‘rock on‘ track in the offering. Pun intended. After all ‘Barson Yaaron ‘ completely and truly belongs to the rock genre. With a stage setting to it, it has some elaborate music arrangements that get the right ambience on to make it a track which befits a big screen presentation. Of course, in the first few listening it seems to be just a carry forward from Rock On. However, as one listens to ‘Barson Yaaron‘ a few times over, you do realize that it has a setting to it which is just so relevant to the theme of London Dreams. With an unconventional pairing of Vishal Dadlani and Roop Kumar Rathod behind the mike, ‘Barson Yaaron is also special as it ends with the rock version of ‘Hanuman Chalisa’. Definitely a first and something which is bound to create frenzy in theaters for Salman Khan fans.
‘Man Ko Ati Bhavey’ follows next and your immediate reaction is – ‘Now what’s that?’ Then you allow yourself a complete listening at least because you realize that everything is possible in Salman Khan’s world. Reason being that ‘Man Ko Ati Bhavey’ has a true ‘Bhojpuri’ feel to it with Shankar Mahadevan too going unabashed in his rustic rendition that never once slips away from the song’s mood, setting and genre. The rhythm starts working for the listener after a while and a couple of listening later; you also start to grasp the lyrics. Just like ‘Barson Yaaron’, this one too grows you on after a while and once that happens, it is impossible not to find yourself humming it around even when the music is not playing. A sure shot chartbuster which finds a deserving ‘remix version’ for itself!
It’s time for some Punjabi music to make its way into the album and this happens through ‘Tapkey Masti’. A point to be noted though is that this one is not a conventional ‘bhangra’ track that gets into a regular ‘aahun aahun shaava shaava’ mode. Instead, it takes a slightly different route and even though there is a slight rock background to this one as well, ‘Tapkey Masti’ (which is also heard in the ‘remix version’) continues to give the feel of the rustic world that it belongs to. Singer Feroz Khan too sticks to the song’s genre and delivers as required.
New entrant Mohan is given the responsibility of singing the title song of London Dreams which is interestingly titled ‘Khanabadosh‘. He does quite well in this yet another unconventional tune that brings back rock into the album. If the initial parts of the song are good, its 100 seconds down the line when ‘Khanabadosh’ really comes on its own. There are multiple layers along with various twists and turns in the song, something that makes one listen ‘Khanabadosh’ quite carefully. Some truly unconventional and difficult-to-hum-around lyrics only make this song the kind that starts becoming more and more familiar only after a few listening. That’s the reason why one doesn’t quite mind the ‘remix version’ that arrives at the latter stages of the album.
For those who were missing the kind of trademark compositions that Shankar-Ehsaan-Loy are known for, there is ‘Khwab Jo‘. A serene track that gets into the dynamics of a ‘khwab’ and how, when, why and where is it actually a ‘khwab’ and not a ‘haqeeqat’, ‘Khwab Jo’ by Rahat Fateh Ali Khan and Shankar Mahadevan is an out and out poetic track by Prasoon Joshi. One wonders the kind of pain that Shankar-Ehsaan-Loy must have gone through in order to spin a tune around the lyrics. A smooth moving number that has a melodic base to it, ‘Khwab Jo’ sees the fusion of Indian classical with soft rock that becomes more and more apparent as one reaches the song’s end.
The opening of ‘Yaari Bina‘ followed by the music that follows instantly reminds one of ‘Hum Tumhe Chahte Hai’ [Qurbaani] . However, the similarity ends as quickly as it appeared for this ‘qawalli’ which again reaches its peak 100 seconds down the line. Coming together of Roop Kumar Rathod and Milind makes for another unconventional outing behind the mike. A song that pays homage to friendship and terms one’s life as truly useless without a friend on your side, ‘Yaari Bina’ appears situational and the kind that would aid the dramatic outing for the film’s main leads.
Abhijeet Ghoshal gets a solo for himself in the form of ‘Jashn Hai Jeet Ka’. A rock song with an Indian base to it, especially when it comes to rendition by Abhijeet, ‘Jashn Hai Jeet Ka’ appears to be a passionate outing for the actor on whom the song would be picturised. A song about moving ahead in life all by yourself sans any support, ‘Jashn Hai Jeet Ka’ is quite 70s musically though it is presented in a contemporary manner. One waits to see how the song turns out to be on screen.
In the world of solo numbers, Zubeen Garg gets one for himself too in the form of ‘Shola Shola‘. Starting off on a relatively slower note, it shows a slight jump one minute down the line. ‘Shola Shola’ too reminds one of the music of the 70s, especially with the coming together of chorus during the key words ‘Shola Shola’. However, it’s the contemporary setting that helps the song to a fair degree in terms of being presented to today’s youth. Just like ‘Jashn Hai…. ‘ this one too falls under the ‘wait and watch’ category.
OVERALL
First things first – The music of London Dreams requires not one, not two, not three but at least five odd listening before it starts growing on you. At first instance the music seems to be going all over, especially due to the fact that most of the tunes are plain unconventional and nothing that one has heard in a mainstream Bollywood film before. By the second instance one starts wondering if the expectations were really worth it as you aspire for something more comfortable and easy on ears in terms of recollection value.
By the third and the fourth instance, you actually start warming up to some of the songs from the album and give them a keen hear. And once you are into the album the fifth time over, you realize that London Dreams does carry some good stuff to make heads turn. The album won’t necessarily take a thunderous beginning at the music stands. However, the songs are bound to find much better acceptance if the film succeeds at the box office.
OUR PICK(S
‘Man Ko Ati Bhavey’, ‘Barson Yaaron’, ‘Khanabadosh’
Ratings:
Music: (3/5)
Related Posts: London Dreams(2009)
Posted Under:
London Dreams (2009),
Music Reviews
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