Entertainment & Movie News

Badmaash Company is an upcoming Hindi movie of Bollywood. The movie is directed by Parmeet Sethi starting with Shahid Kapoor and Anushika Sharma. Badmaash Company music is composed by Pritam. Anvita Dutt is lyricist of the film. YRF Music launches Badmaash Company Album 2010 on 9th April.

When Pritam composes for YRF, things somehow don’t happen to be his best. At least for past sometime, with an exception of New York to some extent. Dil Bole Hadippa went bad, and Badmaash Company doesn’t look too good, though the soundtrack of Badmaash Company is good enough to hear for some time.

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Honestly, one isn’t overtly enthusiastic about checking out what exactly does No Problem have in store. It doesn’t boast of a quintessential hero-heroine fare. Also, since it is an Anees Bazmee film, it isn’t meant to be relying on music as it’s USP as the story telling by itself is expected to bring in the audience. Moreover, the earlier promos of the film haven’t quite placed music on the forefront. Add to that the fact that three set of composers – Pritam, Sajid-Wajid and Anand Raaj Anand – come together to get the album in place means one is further apprehensive about what really is in store here.

As it turns out, the opening song No Problem doesn’t quite turn out to the best attraction that the title track of a film is supposed to offer. Coming from the same school of music as the title track of Welcome, this one does have a catchy rhythm to it with Wajid, Suzzane Demello, Khurram Iqbal, Bhishak Jyoti, Kamal Khan, Suganda Mishra and Altamash Faridi teaming up behind the mike. However, it somehow ends up being ‘heard today, forgotten tomorrow’ kind of a track. Yes, if the film ends up doing tremendously well at the box office, this song written by Shabbir Ahmed and put to tune by Sajid-Wajid can expect a decent recall value for it. However, unless that happens, this title track would have to make way for other songs in the album.

The album picks up miraculously with the arrival of ‘Shakira’, a fun number where the focus is on the leading ladies (Sushmita Sen, Kangna) ending up being far more enticing in their moves when compared to none other than Shakira. While Hard Kaur kick starts the song with her rap, Master Salim and Kalpana come together to get an authentic Punjabi flavour to this Pritam composition, hence making Kumaar written ‘Shakira’ a definite chartbuster in the making. The song, which also has a ‘remix version’ for itself has a distinct Pritam stamp to it and makes one wonder that why wasn’t this celebration track the first to come on air.

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A while ago, while chatting him up for my show on TV, someone queried Sudhir Mishra as to why Hindi film industry fails to produce qualitative movies, unlike the 1960s and 1970s, which have tremendous recall value even in the present day? I markedly remember, Mishra didn’t blink an eyelid while answering this one: “That’s because most producers are not literate enough to understand scripts that could elevate the standards of Hindi films. Film-making for them is limited to the weekend business these days.” The proclamation stayed with me!

When you saunter into a cineplex to watch a Sudhir Mishra film, it’s given that this maverick film-maker will serve you non-formulaic stuff. As a viewer, I liked some of his efforts [IS RAAT KI SUBAH NAHIN, HAZAARON KHWAISHEIN AISI], but a few didn’t live up to my expectations. His new film, YEH SAALI ZINDAGI, has already generated the buzz for a variety of reasons. It’s ‘controversial’ or ‘provocative’ title being the key one.

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Bollywood appears to be inclined towards exploring rare illnesses/disorders/disabilities, with directors casting megastars in characters to raise awareness about the lesser-known ailments. In GHAJINI, Aamir Khan had short-term memory loss [Anterograde Amnesia]. In PAA, Amitabh Bachchan played a child afflicted with Progeria. In MY NAME IS KHAN, SRK was shown suffering from Asperger Syndrome. In TAARE ZAMEEN PAR, Aamir Khan portrayed problems of Dyslexic children. In BLACK, Amitabh Bachchan was shown succumbing to Alzheimer’s. In KARTHIK CALLING KARTHIK, Farhan Akhtar portrayed a Schizophrenic.

This is not the first time that master film-maker Sanjay Leela Bhansali has attempted a movie that has the protagonist suffering from a serious disability. In GUZAARISH, Hrithik Roshan suffers from Paraplegia, a complete paralysis of the lower half of the body, including both legs, usually caused by damage/injury to the spinal cord.

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Fun. That’s in one word to describe the expectation that one has from the music of Golmaal 3. Films coming form the house of Rohit Shetty have time and again celebrated life and are aimed at youth. Whether it is Golmaal, Golmaal 2, All The Best or Sunday, music in each of these films has been vibrant with no single dull moment. This is what one expects from Golmaal 3 as well that has composer Pritam and lyricist Kumaar coming together. With the film being third in the series, one expects double the fun this time around, if not the triple.

It’s time for some ‘Golmaal’ all over again as K.K., Anouska Manchanda and Monali Thakur come together for a high on energy title track. The beginning is exactly on the same line as what one would have expected here, which means that the sound of ‘ Golmaal Golmaal’ is heard all over again. The ‘remix version’ ensures though that there is a lot of spunk ready to be exploited on the dance floor.

Next to come is a song about togetherness, ‘Apna Har Din’, which is all set to be picturised on the entire principal cast of Golmaal 3. A fun number with a touch of carnival mood to it, ‘ Apna Har Din’ (which also arrives in a ‘remix version’) has a 70s style composition with Shaan and Anouska Manchanda sounding genuinely happy while crooning this one. However, the overall impact that the song creates is that of being a situational number.

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Several factors compel you to ponder over your decision whether or not to watch KNOCK OUT…

• There’s talk that KNOCK OUT is a blatant copy of PHONE BOOTH. If you’ve watched the original, why watch its clone?
• You rush to a nearby cineplex only if the film excites you and in this case, the buzz is missing.
• Sanjay Dutt – the lead actor – hasn’t been a part of a worthy film, post MUNNABHAI. That automatically robs the sheen from the film.

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Sherlock Holmes and his assistant, Dr John Watson think they have successfully resolved a case, when the murderer, Lord Blackwood is hanged for his crimes. But the black-magic practitioner returns from the dead to haunt London once again. Time to take up the case again.

Sherlock Holmes with a whole lot of hormones? Now that’s not so elementary, my dear Watson! Specially, when entire generations of readers have grown up with memories of a vintage arm chair detective who never actually got his hands soiled, despite spending a lifetime tackling crime and criminals.

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You don’t quite know what to expect from the music of Peepli [Live]. Actually, to be honest, you don’t really have much hope either. After all, the factors are not quite conducive to a popular soundtrack being in the offing from Peepli [Live] . Rural base, largely unknown actors, offbeat theme, first time director, an unusual set of composers (Ram Sampat, Indian Ocean, Nageen Tanvir) – you name it! But then (and this is a big ‘but’ by the way) there is a name called Aamir Khan involved with the film. Frankly, if not for him, the film as well as music would have largely gone unnoticed. He is the sole reason why one still feels that there may well be a surprise round the corner. Let’s check out to see if there indeed is one!

There is a rustic sound associated with the music coming from Indian Ocean. It could be Western or Indian based but one can’t take out the rustic element from the music that this band creates. This is the reason why ‘ Des Mera’ does carry an individuality around it as the band comes together to make a song which talks about the uniqueness of India for all the mishaps or goodness that it boasts of. Written by Sanjeev Sharma and Swanand Kirkire, ‘ Des Mera’ is a theme track that has a feel good factor about it, keeps its tempo high and goes well with the rural background of the film. However, given the theme, ‘ Des Mera’ (which arrives in an added version) has it’s shelf life restricted to the play of the film.

Once the sound of harmonium fills up the first couple of seconds of ‘ Mehngai Dayain’ and Raghubir Yadav begins his rustic rendition, you know that there is one song which is going to stay totally true to the background that the film carries. A track which gives the feeling of a ‘live on location’ recording, courtesy the way Raghubir along with a bunch of other singers go ahead with their rendition, ‘ Mehngai Dayain’ is as topical as it gets due to the statement it makes against price rise. However, all of this is said in a lighter vein which ensures that the message is conveyed without it being thrust down the throat. A track that comes with traditional lyrics, it has Ram Sampat keeping it totally folksy in nature without any touch up.

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Aisha is an upcoming romantic comedy Hindi movie of Bollywood starring Sonam Kapoor, Abhay Deol and Arunoday Singh. Music of Aisha movie is composed by Amit Trivedi. Lyricist of the film is Javed Akhtar.

Amit Trivedi is here again. I was not even done with listening to his awesome Udaan, when he came back with Aisha. The good thing is that unlike Udaan, Aisha is not all typical Amit Trivedi in his favorite rock mood, but much more versatility. In fact with the present variety, you may count it as, something like half a Dev.D.

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Quite opposite to once expectations and Prakash Jha’s image, Raajneeti seems to be a full fledged musical once you read the names of composers and singers on the cover of this album. And most of them succeed in doing it to quite an extent. Yes, Raajneeti has it’s fare share of good music.

Raajneeti is genuinely one of the most eagerly awaited movies of the year (unlike over-hyped and over-rated trash such as the recent “Housefull”). With a director like Prakash Jha at the helm who has a strong pedigree in this genre and a stellar cast (including the director’s favourite Ajay Devgan and Nana Patekar) to befit several movies let alone one, Raajneeti is expected to portray the reality of politics in a way that has never been seen before. But what about the music? Apart from the background score (by Wayne Sharpe) which will be important, can the songs promote or add any value to such a movie? Based on Prakash Jha’s previous films the answer must be a resounding no and this theory is further compelled by the late arrival of this soundtrack (the movie is released in a few weeks!) but regardless of expectations.

The album starts with Bheegi si, bhaagi si, which is a peppy, foot-tapping, Pritam type song sung by Mohit Chauhan with a relatively very new Antara Mitra who sounds something like Shreya Ghoshal. A good one to say the least. Catchy. Not long term, but not bad certainly.

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