A.R.Rahman (Fan Club) - Page 98

ok how could i miss this (probably cause i dun come here 😆 😆 )

i am a huge rehman fan - i've heard his every song! i love his tamil music EVERYTHING!

its a bit late. i'm in though

BTW great club going

Originally posted by: doly_455

thks for the info.....
i too think its not right to compare 2 musicians....as their styles r so difft......
each 1 is unique and awesome in his own way.........

its true yaar

Hi, friends..howz life?

Swetha!!If you are busy now I can take the responsibility temporarily...if the other members permit me.But visit the club regularly....

Originally posted by: doly_455

me too....but we shud start somethin to make the thread more interesting......what do u all say?....a contest or a trivia kind of a thing.......

Hey doly...I read your pm...great idea...post your complete plan here...i hope other members will also accept it.

Originally posted by: sneha3105

ok how could i miss this (probably cause i dun come here 😆 😆 )

i am a huge rehman fan - i've heard his every song! i love his tamil music EVERYTHING!

its a bit late. i'm in though

BTW great club going

Welcome Sneha...your name will be enlisted soon.

AAAAAAAAAAAAAAAAAAAAAAAAAAA

Waiting for Naalai to dawn Shifting his stance to action films is Richard. Naalai is the make-or-break film for the strikingly good looking actor. In keeping with the genre of action films, Richard had to shift gears a trifle earlier than he would have wished for. Foraying into an untried area with his drop-dead looks and innocuous smile was in order. Hardly it was Richard's fault that a rush of gangster films found its way into the theatres before Naalai could see the light of the day. Director Udaya Banu was the most harried man, having to make the necessary alterations at every turn. A cult movie was how Richard deemed of Naalai. 'It may sound cliched but the final denouement will be a pleasant surprise for the viewers. 'There is the human side to a person even if he happens to be a henchman of a Don. At no stage I felt the uneasiness creeping into the character. That was as good a sign that I did not have to do anything out of the ordinary to pass the audience verdict.' Sort of a surprise that he had no starting problems in Telugu with that smooth ride in A Film By Aravind Richard attributed the experience good enough to share with his grand children. 'It was a great team work shooting at the forest. You could feel the impact of a Ram Gopal Varma in that arresting way director Shekhar Suri wove the plot. Passing the 100-day mark was a reward, earned the hard way.' Stumped he was to explain of the bumpy ride in Kollywood bugged by the debacle of Kadhal Virus. 'What more I could have asked for with names like Kathir (director) and A R Rahman (musical score). Not everyone is destined for a smooth start,' Richard said retaining his composure. When Girivalam sank without a trace, it was palpitation time. Moving over to Malayalam did a lot to soothen his nerves. Kootu did help to lift his sagging spirits, thanks to the expertise of director Jayaprakash. As Rishi, the actor has made quite a splash in Telugu. Two films are for director Koti Ramakrishna, each script as different as chalk from cheese. He does not buy the view that the name change did wonders while shifting allegiance. Down but not out is Richard, sure of the wheel turning a circle. Naalai should provide all the answers.

REGIONAL RHYTHMS

Jnana To Gana

Consistent eclecticism has kept Tamil film music virile

S.THEODORE BASKARAN

Special Issue: Bollywood Music Special

When the first Tamil film, Kalidas, opened in Madras at Kinema Central, in October 1931, and the heroine T.P. Rajalakshmi sang on the screen, few in that rapt audience would have realised that they were witnessing the birth of a cultural colossus-Tamil film music. All the song-laden Tamil films of the initial years were celluloid versions of plays of the popular drama companies. The filmmakers thus tapped a powerful musical tradition-the company drama repertoire. These plays had evolved into a theatre of song and music, a kind of an opera, with minimal spoken words and action. Into the drama music, based primarily on Carnatic style, had been introduced a form of the Hindustani idiom appropriated from Marathi company dramas that had toured the presidency. Folk songs were also featured, and within a decade it began absorbing western music as well. The cinema industry expanded after sound studios were set up in Madras in 1934. The prospect of steady money attracted classical musicians. There was M.S. Subbulakshmi, along with M.M. Dandapani Desigar. So, people flocked to cinema halls as if they were going to a concert. Music composer Papanasam Sivan gave classical music to the people in a simplified form and helped widen its base. However, when playback singing came into being, there was a separation of acting and singing and the classical musicians had to leave the scene. In the black-and-white era, the song sequences were in 'real' time. This was the phase when G. Ramanathan and K.V. Mahadevan dominated the music scene. Once colour arrived, filmmakers began to shoot a single song sequence in different locales and in varied costumes. This meant a complete suspension of the logic of time and space for the duration of the song. Today, film music is all-pervasive in Tamil Nadu. It enjoys a popularity that has few parallels in history. It has transcended categorisations-an important development in a non-egalitarian society. In the '50s, Radio Ceylon brought the songs home when All India Radio, under I&B minister B.V. Keskar, refused to broadcast film songs. Eventually, the minister relented. Later, audio cassettes, CDs, TV and the attendant electronic technology extended the reach of film songs. Today, no other artiste personifies the popularity of film music as does Ilayaraja. He entered Tamil films in the mid-1970s, when there was stagnation in film music. Ilayaraja's creations came as a whiff of fresh air. The song that made him famous in his debut film Annakili (1976)-Annakili unnai theduthu (Annam is looking for you)-was authentic folk. In his 30 years in cinema, he has composed music for more than 1,000 films in Tamil and four other languages. But what sets apart Ilayaraja is his grasp of the role of music in cinema. Very few music directors, with the possible exception of L. Vaidyanathan and Salil Chowdhry, have demonstrated an understanding of the medium of cinema and the role of a musical score in the narrative. Ilayaraja doesn't believe in creating film music as a mere aural experience, isolated from the images. For him, music is integral to the effect of the movie. It has to integrate with the narrative, not intrude upon it. It has to go with the images, has to be part of the viewing experience. Even as Ilayaraja was dominating the scene, A.R. Rahman made his debut with the film Roja (1993) and went on to introduce world sounds and New Age music to our film score. Rahman's stress has been more on songs than on background score. Unlike Ilayaraja, he accentuates the independent aural character of film songs; they aren't necessarily linked to the onscreen images or the characters singing them. In comparison to classical music, film music might often be denigrated but it has been all-embracing, adopting continuously from several styles.It has supplanted folk music in the lives of common people. Both have a simplicity that doesn't presuppose any knowledge of music. The latest trend in Tamil film music is Gana songs, which can be described as urban folk music spawned by the Chennai working class. The popularity enjoyed by a Gana song, on a marriage between two species of fish, in the 2006 film Chithiram Pesudhadi (Look...A Picture Speaks) is symptomatic of the catholicity of Tamil film music. Hope the future stays just as vibrant. (Baskaran's An Eye of the Serpent won the 1996 national award for the best film book)

http://www.outlookindia.com/full.asp?fodname=20060626&fn ame=HCol+Baskaran&sid=1

EAST/WEST MUSICALS

Play That Back

We know something the West doesn't. Song 'n dance can hold up a film.

NASREEN MUNNI KABIR

Special Issue: Bollywood Music Special

There's more in common than we might imagine between early Hindi talkies and the Hollywood musical.
When Warner Brothers developed the Vitaphone sound-on-disc system that first gave cinema a voice, Broadway star Al Jolson did not hesitate to leave the stage for

a successful career in the movies. Jolson became the world's first movie star after he sang in the otherwise silent film, The Jazz Singer (1927). When Ardeshir Irani made India's first sound film, Alam Ara (1931), he too looked to theatre for inspiration. Following the 1929 Wall Street crash, many New York theatres were forced to close, prompting a flurry of stage stars, like Fred Astaire, Eddie Cantor and Fanny Brice, to head for Hollywood. Librettists and choreographers, including the famous dance director, Busby Berkeley, soon followed. Berkeley developed a highly cinematic language for choreography by using revolving stages, mirrors and shooting close-ups, top shots and the most unusual camera angles for dances.
A film critics poll in the UK had just one musical in their Top Ten list, Singin' in the Rain. And it held up the tail, at No. 10.	In India too, many early screen performers came from the theatre, and found that their strong singing voices and dancing skills gave them a major advantage. Through the 1930s and '40s, the Hollywood musical was the preferred family entertainment—synonymous with the golden era

of American popular entertainment. This was particularly true during the Great Depression, as big-spectacle musicals offered an escape from the daily struggles of many Americans. In addition, they were nearly always romantic and an ideal vehicle for the popular "happy ending". Adding dance to the mix introduced yet another established art form to cinema—choreography—with much to offer in the way of cinematic spectacle. In India too, dance found its way into cinema with a variety of forms giving early sound cinema wonderful material from which to draw inspiration. Early examples of special note are J.B.H. Wadia's The Court Dancer (made in Hindi and English) and 1948's Kalpana, an effective, surreal dance fantasy directed by Uday Shankar. Shankar's film is nearly entirely woven around dance and is an extraordinary work, suggesting a path that Indian cinema could have followed but never did. Perhaps because his style of film choreography was so individual, its impact was only noticeable in a few works—the most famous examples being Ghar aya mera pardesi (the three-part song-and-dance sequence that begins as a dream and ends as a nightmare) in Raj Kapoor's Awaara (1951), choreographed by Madame Simkie (Uday Shankar's associate) and the amazing drum dance in S.S. Vasan's Chandralekha, choreographed by Jaya Shankar's team. Indian 'filmi' dance has over the years become recognised in its own right, and is on a par with the best film choreography anywhere. On the US stage, however, song and dance routines—with the exception of opera—were confined to 'the musical'. On screen, a musical was synonymous with pure entertainment—as though song and dance by definition lightened the tone. This is still the case today: a film critics' Top Ten poll in 2002 by the UK's Sight and Sound magazine, had only one musical, Singin' in the Rain (1952), at No. 10. This could explain why the West has, until recently, been dismissive of Indian movies, unable to think of them as anything other than lightweight romantic musicals. The reality is different. In India, the use of film music has never been seen merely as popular and escapist, perhaps because its origins lie in classical, folk or urban Indian theatre traditions. These are rightly understood as established art forms, with virtually no distinction between narrative, music and song. So, unlike a majority of their Western counterparts, Indian audiences can sit as comfortably through song-and-dance routines in films with a heavy political tone (Bombay) as they can in comedies (Munnabhai MBBS). Love for the classic Hollywood musical faded by the '70s, though rock-'n- roll era movie Grease was a big hit in 1978. Yet the musical is a resilient genre that lends itself to reinvention. Whenever an imaginative director like Bob Fosse (Cabaret and All that Jazz), Baz Luhrmann (Moulin Rouge) or Rob Marshall (Chicago) comes along, the audiences' appetite is revived once more. Interestingly, the Hollywood musical has gone back full circle: recent Broadway hits like Billy Elliot, The Producers, Chitty Chitty Bang Bang etc are adapted from or inspired by movies. And whilst Western audiences have lost much of their interest in screen musicals, it is worth noting that on Broadway, 24 out of the current 30 shows are musicals. No surprise then that Andrew Lloyd Webber's Bombay Dreams (music by A.R. Rahman and choreography by Anthony Van Laast and Farah Khan) has had more mainstream success in the West than any Bollywood film has managed so far.

http://www.outlookindia.com/full.asp?fodname=20060626&fn ame=FThem+and+us+(F)&sid=1

hi guys.....i think we shud start a trivia kind of thing....
1 shud ask a q's abt ar rehman and any 1 could answer....if it is not answered by any 1 in next 3 posts then the person can answer it and ask another 1........

lets start......

my question is........

which was the first movie in which a. r rehman had given music for......??

sammie i hope u dont mind..i am going to post the next question.. 😊

Next question:

The song Nachle (sung by Daler Mehendi) from Lakeer was composed by A.R.Rahman. But here he used the same tune that he had used in a superhit Tamil movie.Name the movie and the song.