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Originally posted by: rachna_5
hey😊 glad to see you back... btw welcome😉
i missed u a lot... hope everything's well now
btw AR Rahman won best music for Fimfare awards😃
Thnx Rachnu. I missed u a lot 2....everything is allright now...😊
| 'Water' qualifies as pure cinema (REVIEW) | ||
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| Subhash K Jha speaks about Water |
| By Subhash K. Jha, March 7, 2007 - 05:35 IST |
| What do you say about a film that hits you hard where it hurts the most, so hard that it takes your breath away? Water belongs to that rare category of films that have the power to re-define the parameters of cinema, to re-align the function and purpose of the medium, and to re-structure the way we, the audience look at the motion -picture experience. It's no coincidence that Deepa Mehta's heroine is named Kalyani. Lisa Ray as the tragic dreary widow seems to echo Nutan's Kalyani in Bimal Roy's Bandini. The tragic grandeur that Water wears on its resplendent sleeve is a quality that sets it apart from other reformist dramas. The film has a great deal to say about the plight of socio-economically challenged women, specifically the widows of Varanasi in the 1930s. The burning ghats and the waters that flow from them, symbolize the ashes-and-embers predicament of Deepa's ashram-bound women….all plagued by the pathos of dereliction, deprivation and yes, prostitution. In telling it like it is, Mehta never filches. When has she ever done that?! Her elemental trilogy (Fire, Earth & Water) reflects a harshly uncompromising sensibility. In Water Mehta doesn't beautify the brutality of the widows' existence. There are bouts of humour; dance and music (watch Lisa Ray and little Sarala dance around their dingy room as the rain splashes romantically on the parched streets down below, or the eruption of Holi revelry in the ashram). A quality of luminous lyricism runs through the narration, especially in the romantic interludes between Narayan (John Abraham) and Kalyani (Lisa Ray) which are designed like a modern-day re-working of the Radha-Krishna mythology. The sheer purity and beauty of the central romance contrasts tellingly with the squalidity of the lives and settings that the plot negotiates with such slender but deft steps. Whether it's in capturing the layer after emotional layer in this onion of a drama or in juxtaposing sequences of the shimmering river with the run-down ashram, Giles Nuttgen's camera doesn't flinch from the beauty and the grime. The cinematography could've easily converted the multi-layered character-study into a tourists over-view. Nuttgen takes us into the darkest areas of the human condition to search for the peace that prevails under the panic of existence. And A.R Rahman's music, his best in years, uplifts the mood of tragic pathos to the sphere of sublimity. Many moments in Water would comfortably qualify as pure cinema. That moment when the oldest woman in the ashram devours a laddoo that she had been craving for all her life could be seen as the most satirically tragic juncture in a film on soci-culturally challenged lives. Water as the giver and the destroyer…that's the predominant metaphor that cuts through heart of the fragile but for tale. Each time we see the porcelain Kalyani peep out of her dungeon-like window, we know she's searching for a horizon that most of us never find in our lifetime. Water contours and defines those glazed regions in our history that we would rather not sharp-focus on. In many ways its depiction of the plight of abandoned widows is a metaphor for the condition of women across the world, and also a microcosmic view of the human condition. In one way or another we are all persecuted and haunted. A film like Water comes once in a while to negotiate that seemingly insurmountable space between desire and longing, between love and rituals. As in all works of true art, no character in Water is big or small. They're all played by actors who know what needs to be done, and how to bridge that gap between delusional reality and illusional artistry. The fine cast grabs your undivided attention. Seasoned performers like Manorama(playing the head of the ashram she's a conniving scheming farting mass of vulgarity and self-interest), Seema Biswas(clenched controlled conflicted by fundamentalism and the Gandhian reformist that assails her existence) and Raghuvir Yadav(a whoop as a singing eunuch) blend beautifully with the central love story embodied with supreme sensitivity in the John-Lisa pair. And to think that we always thought of John and Lisa as actors incapable of overcoming their inherent urbanity! It's Sarala as little Chuhiya whom you'll find hard to get out of your head. She is the most credible child performer, on a par with Ayesha Kapoor in Sanjay Bhansali's Black. Normally children in films respond to adult situations in an unnaturally knowing way. Chuhiya remains a child caught in a frightening world of persecution and perversion. Like bolts of blue feelings, Deepa Mehta inter-cuts the wretched lives of the characters with glimmers of hope. Even when Mahatma Gandhi makes an unexpected appearance at the end the director doesn't allow her vision of poetry to be crowded by postures of polemics. While you grieve for these doomed disintegrating lives, you cannot miss the subtext of social reform that underlines their lives. The hallmark of a true work of art is the level of sublimity it achieves in its characterizations while conveying thoughts on the quality of lives. What Deepa Mehta has to say about the plight of women in India 60 years ago remains true to this day. Hopefully things will change before another 60 years pass. Water leaves us with much hope, and some frightening misgivings. |
The Fifth CavinKare Ability Awards was conducted in Chennai at Mayor Ramnathan Chettiar Hall, Chennai on Sunday 4th March 2007. This year the mastery Award went to Anjali Arora from New Delhi who is the first visually impaired Supreme court lawyer of India. The two Eminence awards went out to Kali Vinod Tiwari from Unnao, Uttar Pradesh and Neha Bhansal from New Delhi.
The honorable Chief Minister of Tamil Nadu Dr. Kalaignar M Karunanidhi conferred the awards followed by a musical extravaganza by AR Rahman. For the first time accompanying AR Rahman were two budding artists Heeru Chandani who is visually impaired and Radha Roy who is physically challenged left the audience mesmerized.
The CavinKare ABILITY Awards, a total of three awards, are given annually to acknowledge personal triumphs in respective fields. The final list of awardees are selected from over 16 nominees from across the country by a distinguished panel of jury who include, Nagesh Kukunoor – Bollywood film maker and actor, Kanimozhi Karunanidhi, Poet, Lyricist, Daughter of M. Karunanidhi Chief Minister of TamilNadu, Mohini Giri, social activist, Dr. V. Krishnamurthy – Chairman, National Manufacturing Competitiveness Council Ltd, Mrs. Leela Samson Director Kalakshetra Foundation and other dignitaries including CK Ranganathan – Chairman and MD of Cavinkare.
CavinKare and ABILITY foundation together strongly believe that there is a need to champion this wonderful cause to encourage many hearts to achieve milestone despite odds and invoke self-belief and determination that disability is never a hurdle to reach for your aspirations.
Every year of this event is an awakening to the mind and sprit to witness and acknowledge extraordinary achievement of those who look beyond their physical limitations to make a statement, an inspiring difference to the society at large.
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| It's the awards season in the Hindi Film Industry and when it comes to the best music category, there is practically no competition -- AR Rahman and cult film Rang De Basanti, it is. This unassuming composer says awards are energising. TIMES NOW's Naomi Dutta caught up with the talented musician and got talking first about RDB! Excerpts: Rahman: I think it's a very important film for all of us, not only for me, its changed the way India thinks, I think it's a revolutionary film Naomi: And you said that when you worked with Rakeysh, you wanted to ensure that every number is a super hit, can you really ensure that as a composer? Rahman: You can just try, but if you don't have an intention you don't even try, and for a film like RDB, we wanted that to happen because its not a straight commercial film, it could have gone wrong. So from my side and music and lyrics side, we wanted everything to go right, so each one was taking care of their departments in the right way! Naomi: As a music composer what is your biggest fear -- that there is a song in a film and people go out of the theatre for a loo break, has it ever happened? Does that thought scare you? Rahman: No, if you concentrate and work together, you can avoid that. Like in RDB, I thought 'Tu Bin Bataye...Would be that kind of a song, but we never got that reaction. They were sitting and watching the film that time, even though it came near the interval and it was a every slow song. So sometimes you can break all the formulas. Rahman followed up RDB with Mani Ratnam's 'Guru' this year. A slow starter, this album though eventually became a top seller, one could argue that it is not Rahman & Ratnam's best work! Naomi: It's very important for you, especially in the Indian context that the song picturisation is right. In Guru, a lot of people appreciated the music, but lot of people felt they broke the narrative, how do you react to that as a music composer? Rahman : I think people have become too intelligent, so much so that everyone can make a film now. When Mani puts a song in, it's with loads of thing in his mind, so he obviously knows what he is doing. In fact, he told me that we have a song and if you remove the song, the film doesn't work, because it's a serious film and it needs that song. Naomi : And you have that Bappi Lahari song -- again people thought it was a force fit. Rahman : Well, you can expect the unusual from Mani. There are two opinions about that -- some of them really love it, when I was watching the film in New York, they said, "Oh! It's the best song." That's good actually when people have different opinions about the same thing, completely opposite! Naomi: Are you open to your songs being used as background scores, because in India that's not totally appreciated, but that's very important, now you that you have songless films and all of that. What do you make of that? Rahman : Well, in a way music suffers if you put it as a background. Definitely, the full output of the song doesn't come through, but sometimes it's important to have that song behind. In 'Guru', especially, we did a song called 'Shock Hei', which was composed after I saw the film, it became a background score, and it was intentional. As you may have noticed, this musical genius would rather his music speak for him, but in recent times, what he has been vocal about is the music composer getting joint copyright over his compositions along with the music label. It is a call, which cost him Farah Khan's 'Om Shanti Om', but Rahman says it is the way forward. Rahman: It's fair to give a composer or a lyric writer whatever he or she deserves, and somebody has to voice it, so that's the reason I voiced it. Naomi: Has there been resistance? Rahman: No, actually people are willing. Initially, they were like – 'What is this?', but once they get into it they realise how important it is. I see people who have done great songs suffering in poverty, suffering without money in the end. Here if this kind of thing works out, it's almost like a pension for a composer or a writer, which I think they deserve. Naomi: But is that something you want for all your projects, you have recently signed up with Subhash Ghai, has his label agreed to that? Rahman: That's news to me! Naomi: You haven't signed up with Subhash Ghai? Rahman: He has not spoken to me yet. Naomi: I got an SMS saying Subhash Ghai's new film, music by AR Rahman. Rahman: Okay, I will be meeting him next week, I will find that out. We had agreed to work on some project couple of years back, and then he got busy with his Whistling woods. So we don't know if Rahman is working with Subhash Ghai, but he is definitely working for the United Nations. Rahman's first song in English for a noble cause – 'Pray for me, Brother', is an anti- poverty song composed and sung by him for the UN. This song is also part of K music, Rahman's label to promote different music, which is not necessarily commercial or composed by him. As we sign off, we asked him one last question. Naomi: At one point you said it took you some time before you could be unapologetic about presenting your kind of music, or Indian music to a western audience, but that's changed now, how did that change? Rahman: It's got to do with loads of factors, first of all, when you are talking to a person and then listening to him or her, the way they talk convinces you whether they are speaking the truth. So, I think this has been a culture of songs and movies I am not afraid to show it to anyone, and from Hollywood point we just went, this is us, watch us! So be it then, let Rahman's music take over! (For more, tune into E NOW Weekend, on Saturday 9:30 pm & Sunday 5:30 pm, only on TIMES NOW) |
Chennai: Veteran music director A R Rahman performed at Cavinkare Ability Awards in Chennai, an annual event that recognises talents of the disabled people.
"If they focus, they can perform better than normal people. It doesn't matter if they are visually impaired or suffer from other disability. They can deliver better than a normal person," said Rahman.
The young talented singers felt encouraged with Rahman's words. "When I got to know that I was supposed to sing with him, it was a pleasant surprise. It was like a dream come true," said a visually Impaired participant Heeru Chandnani.
However, the musical maestro was cagey when asked about his plans for the differently-abled singers. "There are lot of plans, I won't say anything," said Rahman.
The event was also attended by Tamil Nadu CM M Karunanidhi and film actress Revathi. It was definitely a night to remember for the special people, who felt it was a dream opportunity.
http://www.ibnlive.com/news/rahman-inspires-talented-disable d-lot/35131-8.html
There were many big wins at this year's Filmware Awards as the talented Kajol and Hrithik Roshan snagged the prize for Best Actress and Best Actor. Abhishek Bachchan and Konkona Sen Sharma won the awards for the supporting categories, and there were also three Lifetime Achievement Awards rewarded to film stars Jaya Bachchan, Yash Chopra and Javed Akhtar. The critic's award for Best Film was given to Rajkumar Hirani, and Vidhu Vinod Chopra for their film Lage Raho Munnabhai, while Rang De Basanti was clearly the biggest winner of the night as it won the awards for both the Best Film of the Year and Best Director Rakeysh Omprakash Mehra. The night was full of commendation and entertainment as performers such as Rani Mukherjee, A.R. Rahman, and the highly anticipated Sridevi graced the stage for some climatic performances.
http://www.asiaarts.ucla.edu/070302/article.asp?parentID=649 01
https://www.youtube.com/watch?v=rIPLuiZN5z4 Tell us how was struggle in starting your career with a song.
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