Soundtrack Movie Review - Page 2

Soundtrack Movie Review
October 6, 2011 06:18:22 PM IST By Martin D'Souza, Glamsham Editorial

	view SOUNDTRACK stills

SOUNDTRACK can easily be classified as an experiment in creativity. It's a bold move by director Neerav Ghosh who has found willing backers in his generous producers. Not everyone gets a chance to explore the realms of his thoughts and explode on celluloid with such gay abandon as does Neerav and his protagonist Rajeev Khandelwal. With AAMIR, released three years ago, Rajeev stamped his imprint as a quality actor. In SOUNDTRACK, he further endorses that truth.

Anurag Kashyap tried his hand at this 'experimental element' in NO SMOKING. That's probably the reason why he is part of this film in a small role as someone who talks glowingly about Raunak Kaul (Rajeev Khandelwal) who is now a successful music composer, although he has turned deaf. There are others from the music industry as well, who speak about Raunak's genius. There's Anu Mallick, Salim (of Salim-Suleiman fame), Kailsah Kher apart from successful VJs and DJs. That's a novelty Neerav brings into this film as he intersperses their views on the central character as he tells the story.

Raunak is full of life. He comes to the city from a small town to make it big. He lost his father at the age of six, but does remember the 'musical times' he had with his dad. His uncle hands him some unfinished tapes of his father and Raunak adds layers to it which become an instant hit in the night club where he is the most sought-after DJ. Already high on alcohol, he takes to drugs of all sorts not to mention women. Life is actually a mess, but he perceives it as bliss. Excess takes its toll on his body and the constant loud decibel levels at the club aided by his 'wasted' lifestyle brings about a hearing disability. He turns stone deaf.

Sooo happy for rajeeevvv😃

Based on true events, Soundtrack is an official remake of the cult English film ' It's All Gone Pete Tong ' (2004). The film traces the meteoric rise and fall of a DJ, Raunak Kaul (Rajeev Khandelwal) who has the talent to make the world dance to his tunes (quite literally). But an excessive lifestyle of sex and substance abuse, not only makes him lose focus towards work, but also leads to a permanent physical disability. In his world dominated by loud music, Raunak turns completely deaf and is unable to pursue his dreams to make music.

Things change when Raunak meets Gauri (Soha Ali Khan), who too is hearing impaired but has mastered the art of lip-reading. In Gauri, Raunak finds a tutor and life-partner. Also his passion for music is rekindled, as he attempts to sense sound (if not hear) and study digital waveforms of tunes he knew, to create new music. Thereby a deaf DJ turns a renowned composer.

Debutante director Neerav Ghosh attempts to give a docu-drama shade to the narrative to make it seem like a biographical take on the life of his protagonist. Thankfully the documentary treatment never overcomes the actual story, which has enough scope for drama per se. The first half seems obsessed with close-up shots of alcohol, drugs, smoke and sex. Raunak boozes as if he were drinking water and smokes like he is breathing air. The idea might be to give a dark and disturbing shade to the film like Anurag Kashyup brand of cinema (the maverick filmmaker also has a cameo), more so with ample scope for substance abuse in the narrative. But after a point of time, it only gets repetitive and seems forced.

The tone of the film suddenly changes in the second half when the narrative turns more soft and sober, as Raunak goes on a self-rehabilitation drive, shunning all addiction. His romance track (with Soha) is blithe as compared to his hardcore sex-drive (with Mrunalini Sharma) in the first half. But beyond the somber shade and his chemistry with costars, the narrative isn't able to create as much contrast between the first half and the second that would have resulted in relating and feeling for the protagonist's plight better.

The depth that it adds to Raunak's relearning process of music (which is the soul of the film) in the second half pales in comparison to the intensity that it lends to the buildup of substance abuse in the first half. Which means the film adds intensity where not needed and vice versa. A basic idea of a deaf person composing decent music makes for an inspiring story. While the promising premise of the film doesn't let you down, one still feels the entire account could have been more stimulating, esp. when the director had straight reference point in the form of the original film.

The entire track of Raunak's fight with his inner demon (clowning around him in a joker-faced mask) looks ludicrous over being symbolic. It gets exasperating after a point and the entire track could certainly have been avoided. For a film dealing primarily with music, the actual 'soundtrack' isn't as stimulating as one would have expected. Also the length could have been shorter and the film could have done away with several repetitive portions. However, the dialogues, esp. in the second half, are well-worded and leave an impact.

Soundtrack works to a big extent because of the persuasive performance of its protagonist played by Rajeev Khandelwal. At the onset, one seems uncertain if the sober-imaged actor would be able to pull off a character as wild and weird as this. But as you see him getting more and more into his character, you are amazed at the conviction he brings to his role. Soha Ali Khan not only plays a deaf character, she has to lisp in her diction too. And the actress does it with absolute subtlety (as compared to the Bollywood stereotypes that go overboard) and brings grace to her role. It would have made more sense if the story enlightened on the reason behind her lisp. Mrinalini Sharma looks refreshingly sexy and is not one-bit vulgar in her skimpily-clad character. Mohan Kapur hams. Manu Rishi doesn't get much scope. Yatin Karyekar is decent.

While it had potential to be a rocking film, Soundtrack, at least, turns out to be sound cinema. Worth giving an ear (and eye) too!

http://timesofindia.indiatimes.com/entertainment/bollywood/news-interviews/Soundtrack-Movie-Review/articleshow/10231796.cms

Originally posted by: eraser

hehe what is battisi? 😆

😆

denture; this --> 😃

Originally posted by: pgsks

see taran's review he didn't say anything bad about the movie but gave 3 stars wonder why he had given shaitan 4 stars!😆

waiting 4 anupama chopra and rajeev masand's review😳 me too waiting for their reviews monuu...😳😳

Rajeev & the Movie are getting good reviews..me very khushhh...😃

omg..I cant wait for this movie..yay..going to watch this weekend

Rajeev Rocks as Neerav Triumphs With 'Soundtrack'!

By MovieTalkies.com, 06 October 2011

There's something irresistible about a heroic triumph, something about an individual overcoming all odds, that appeals to something in every one of us. That appeal is only multiplied, when stories of such triumph leave the pages of fiction, and come into the world of reality, touched by a sense of realism. Perhaps that is why director Neerav Ghosh's debut effort, 'Soundtrack', makes for such a deeply satisfying watch.

However, let one state at the outset, that while this documentary-like feature film claims to be based on a true story, that, in fact, isn't quite true. The film is actually an official remake of the 2004 Canadian indie classic, 'It's All Gone Pete Tong', a similar mockumentary of sorts that spoke of the rise, fall and rise of a fictional Ibiza DJ, Frankie Wilde, with names like DJ Tiesto, Paul Van Dyk and Lol Hammond appearing as talking heads relating Frankie's story through the film. While the original film has turned into something of a cult touchstone, 'Soundtrack', with a first-timer in Neerav at its helm, still has some way to go before it achieves that sort of success. Where the film does see success, however, is in the way Ghosh manages to Indianise as urbane a story as this subject, and makes it quite relatable.

The film's plot is almost Beethoven-esque in its scope, and indeed, more than 'It's All Gone Pete Tong', it is the master composer's legendary life that 'Soundtrack' will invite direct comparisons with. Smartly, then, Neerav makes Ludwig himself a narrator in the film, peppering the narrative with framed quotes from the composer's life.

The plot revolves around a music-maker called Ronak, played superbly by Rajeev Khandelwal, arriving in the city to hit the big-time. Ronak carries within him, the legacy, or rather, the burden of his late father, Parth, who himself tried to make a mark in the music industry, but simply couldn't find success. Ronak, though, tastes victory immediately, as he quickly turns into the superstar DJ at the Tango Charlie club, with the club's owner, Charlie, played by Mohan Kapur, acting as his manager. It is evident that Ronak has a great ear for music, though this is accompanied by a vicious addiction to sex, drugs and alcohol, all of which he finds quite easily in the wonderland of his fame. However, the film's pivotal turn comes when he finds that even as the noose of his addictions is tightening around his neck, his ear is quite literally leaving him, rendering him deaf. The rest of the film deals with Ronak's own tribulations with his condition and how he eventually rises to meet the challenge of life, with some help along the way.

The film, though slow at some points, hooks from the start. The film scores with its interesting narrative, where Ronak's story is told in flashbacks, interspersed with interviews with characters from the film, like Ronak's uncle, his manager Charlie, his band mates Biscuit and Banjo, and his girlfriend, model Shonali, along with real life characters like Kailash Kher and DJ Aqeel, speak of their meetings with Ronak and their impression of him. The tone that they speak of him in, which casts him in an almost genius-like silhouette, makes his character that much more intriguing and appealing. The use of the mysterious Johnny Joker character is also quite interesting, taking the narrative forward in quite unexpected ways, though one must say that the credit here goes to the makers of the original film.

Rajeev Khandelwal, though just two films old as 'Soundtrack' rolls in, has quickly become one of the most interesting actors to watch on the Indian cinema screen. The actor has successfully made the transition from the small screen to the big, and his performance here as Ronak proves that this isn't without reason. Khandelwal is amazingly sincere on centre-stage here, and comes up with a truly captivating performance. The scenes where he is still struggling to deal with his condition are heartbreaking, while you can't help but cheer him on as he finally finds him triumph in the climax.

Soha Ali Khan is also a revelation as Gauri, entering the narrative almost halfway through the second half, but leaving quite a mark. The actress charms in her 'special' role, and shows that given the right scope, she too has the histrionic skills to deliver. Mrinalini Sharma, unfortunately, doesn't get this scope, though, as Ronak's supermodel girlfriend Shonali, she does show potential. Yatin Karyekar, as Ronak's uncle, delivers a great performance, as do the non-actors on the cast, musicians Sidd Coutto and Ankur Tewari, who play Biscuit and Banjo, respectively. Mohan Kapur is perhaps the other main character, apart from Ronak, here, and with a performance that is over the top at points and beautifully understated at others, shows what Bollywood has been ignoring all these years. His Charlie is hilarious, yet endearing, throughout the film.

Given that the film revolves around music and a musician, it was imperative that 'Soundtrack' have a flawless soundtrack itself, and on that front, the film's music directors, the superb Midival Punditz and Karsh Kale, deliver handsomely. Tracks like 'what the f', 'atomizer' and 'fakira' rock the dancefloor, while 'banao', by Papon, and 'jannat', by the film's Banjo, Ankur Tewari, truly charm. However, the climactic number, 'ek manzil', with its haunting cello hook, is where it all truly comes together in a piece of addictive brilliance.

There are points in 'Soundtrack' where the scene-to-scene influence of 'It's All Gone Pete Tong' is unshakeable. And, given the fact that it's an official remake of the film, the question arises as to how much of the credit for 'Soundtrack' goes to Neerav Ghosh. Holistically speaking, the plot is undoubtedly the most crucial aspect of any film, as it is here. However, when that plot is backed up bravura performances like those from Rajeev Khandelwal and Soha, as well as an OST that is as brilliant, the credit then legitimately lies with the director for having the vision to come up with a work as complete as 'Soundtrack'. While the argument can be made for watching the original instead of 'Soundtrack', one has no doubt that if you miss watching this debut effort from Neerav Ghosh, you will be missing out on something promising indeed…

link - http://www.movietalkies.com/movies/reviews/20091/soundtrack

This is the story of "Bandra's Beethoven". That label, used by a glib manager (played by Mohan Kapoor) to hard-sell the hero of Neerav Ghosh's Soundtrack, is bereft of irony or humour. It is meant to be sycophantic, glowing, earnest, 'soul-soup' inspirational—largely what the entire movie also is.

Raunak Kaul (Rajeev Khandelwal) is a master turntablist who spins at a nightclub in what is implied as Bandra, the hip Mumbai suburb. One day he goes deaf. Does he plunge deeper into his cocaine-and-whiskey path towards perdition and hell? Or does he crawl back up to life and music? There's that tantalizing promise—the promise of a man's redemption after he has hit the abyss with drugs, bad decisions, being in love with the wrong person, and a sudden physical disability.

Director Neerav Ghosh mentions in the credits that the film is inspired by the motion picture It's All Gone Pete Tong. But in fact, it is more than just an inspiration. Soundtrack has scenes which are exact replicas of the 2004 British production, written and directed by Michael Dowse. The true story of the original, that of a DJ at an Ibiza nightclub—somewhat of a legend in the Ibiza club scene then—and the sudden end of his raucous lifestyle, is not stuff of great tragedy. In Dowse's movie, Wilde has no nuances, and is unintentionally comic in the way his life spirals down. British actor Paul Kayeadds to the part—a skinny man with a stupid laugh, corroded by drugs, who finally cleans up. There is a comic intensity to Frankie's tragedy which makes the character bearable, although the film in its itself is quite charmless.

The writing of the Hindi remake adapts quite awkwardly to the Mumbai context. This is not really a decadent 'Charlie' and 'charas' land. The director and cinematographer (Anshuman Mahaley) depends on neon hues, jagged camera angles and the music to create the drug-induced madness. The actor does not have to do a lot. The only nuance in Raunak, really, is his hallucinatory relationship with an unthreatening clown who goads him on to inebriation (in the original, it was a grizzly bear-like beast with dried cocaine stuck to its nose). There is also his past—a childhood without a father and the only child of a helpless mother, a trite Bollywood tool in this context.

The attempt to localize is of course intentional, and it is ultimately not the film's undoing. The attempt to make Raunak's story sentimental and inspirational, and to strip the character's of all his foolishness and dumbness—even when he is wasted silly, Khandelwal lends Raunak a sense of importance and seriousness—is. It is a put-off, for this DJ is no tragic hero.

Raunak, a man of firm build and groomed hair, is the anti-thesis of a man swallowed by self-destructive madness. His physicality belies the rot inside. Khandelwal has performed with gusto and he makes some scenes extremely potent, but overall, he is sorely mismatched to this character. Soha Ali Khanplays a deaf girl who rescues Raunak from oblivion. She too, like Khandelwal, is inconsistent. In some scenes the character is strikingly original, and in some completely banal. Mohan Kapoor as the greedy, soulless manager, is the most convincing character here.

Soundtrack is a downer, but for a few powerful scenes—all of which are exact replicas from the movie it's inspired from.

I will confess I am at a disadvantage here because I have watched It's All Gone Pete Tong twice, quite by accident. And comparisons with the mediocre original is unavoidable. When it's a remake or an "inspiration", the task of making it better or to adapt it truthfully to its context is up for scrutiny. And I judge the film largely on those terms.

The star of Soundtrack is its music. Lyricists (Kailash Kher, Majrooh Sultanpuri, Karsh Kale, Vishal Vaid, among others), music directors (Midival Punditz, Karsh Kale, Papon, Kailash Kher, Laxmilant Kudalkar) lift the trajectory of this self-aggrandizing hero by a few notches. The film is visually accomplished, if albeit too plastic at times, but the music and the cinematography momentarily achieves what neither the lead actors nor the writing can achieve.

Soundtrack released in theatres on Friday

sanjukta.s@livemint.com

one avg review must say the writer thinking of original .aare kuch toh exact similarity hogi hi jab yeh official adaptation hai 😆

Soundtrack

Starring - Rajeev Khandelwal, Soha Ali Khan, Mrinalini Sharma

Director - Neerav Ghosh

Producer - Sanjiv Goenka, Apurv Nagpal

Banner - Saregama India Limited, Indie Ideas

Genre - Musical

Rating - *** .

By Kreative Access Team

The star of the film is certainly the story and the narration. The film starring the talented Rajeev Khandelwal, Soha Ali Khan and Mrinalini Sharma is quite a soul shaking epic dust to dawn story of a aspiring musician who falls from the peak and recovers a death defying phase in life.

The film starts with Raunak (Rajeev Khandelwal) who comes to city of dreams Mumbai to make his name in the music industry. After much struggle and tiring phase he manages to catch up a fleeting that of DJ in a famous discotheque. He becomes a rage and then his life turns tracks as he unintentionally shifts focus from his aim. But suddenly his dream run hits a major roadblock when he suddenly loses his hearing power. This leaves him with an irreplaceable void as the hearing impairment leaves him with no scope to take forward his career as a musician. He goes into depression and mind you that's not a simple but a death defying one.

The film is not the one that you come across every Friday. This one's a rare tale of the highs and lows of life. As I mentioned earlier the main strength of the film is its story and the stars lead the tale with panache. The film is based on a true story of a renowned musician Beethoven. The unexpected twists and turns keeps you glued to from start to end.

Rajeev Khandelwal yet again reminds of the potential that he carries as a star. And we must say with each film he is giving the Khans, Kapoors and Kumars a run for their money. He deserves much more attention to compliment his potential. But what surprised us was Soha's performance which made people notice it even in the presence of power house performer Rajeev. Mrinalini Sharma's role as Rajeev's girlfriend is nothing more than an extended cameo but however the actress has performed her part well.

Apart from film's direction and narration, the unique cinematography takes your heart away. As the film was a tale of a musician's life, it ought to be a musical journey and we must say the tracks don't disappoint.

Yet another awe inspiring film coming from Rajeev Khandelwal comes to lure your hearts away. A perfect treat for music and 'Rajeev Khandelwal' lovers and will also appeal to the ones who prefer out of the track films rather than the run-of-the mill films.