International press slams Dhurandhar 2 - Page 11

Persia definitely has some influence. Interestingly, Persia has Hindu/Vedic roots too that predate Islam. I’m sure you know that the Persians were originally Zoroastrians. They were converted to Islam in the same brutal way that the rest of the region was. Those who fled the place took refuge in India and are called as the Parsis as a community.

The Persians worshipped fire, who is considered a Vedic/Hindu deity called Agni Dev in India in various languages. There are ruins of old temples in the country even now that are dedicated to Hindu gods and goddesses.

Interestingly, Saudi Arabia has officially declared and recognised that they too had goddesses who were worshipped in the region by their ancestors and primarily have mentioned the 3 major goddesses who were worshipped were called Al-Lat, Al-Uzza and Manat. Very in line with the concept of the Tridevis of India - Saraswati, Laxmi and Parvati; the wives of the Tridevs - Brahma, Vishnu and Mahesh. Ironically they way they are described is also very in line with these 3.

Al-Lat is associated with white stones holding an incense as the goddess of earth, fertility and prosperity. She sounds very much the Saraswati Maa - the wife of the creator Brahma whom we associate with knowledge, music and wisdom. You can only prosper if you have some knowledge and expertise.

Al-Uzza is associated with power and love. Very much Laxmi coded. Power is associated with all kinds of wealth - we Hindus believe in the concept of Asthalakshmi, aka that Maa has 8 forms in which she blesses us with various kinds of prosperity because it’s not just one. She’s also the wife of Narayan, the sustainer. They are the ones who have taken various incarnations on earth and their avatars be it Ram Sita or Radha Krishna are worshipped by many for marital bliss and love.

Last one is Manat. Goddess of death, destruction and time - if that’s not Kali Maa, I don’t know who is. Kali Maa is an aspect of Parvati Maa at her fiercest, angriest and most destructive and powerful form. Wrath incarnate IMO would be an accurate description. The wife of Mahakal, the destroyer - Mahakaali.

Originally posted by: Krinya

I totally loved the idea of using old classics pehle toh new gen is unaware , so revisiting these songs makes them more popular ..all credit to the original writers and composers..

For me best one was ramba ho😅 watching long action scenes is tedious ..you dont even know who is killing who & how they get saved with bullets raining ..a song in the bg totally pumped up the scene ..

Yep. Usually remixes of old songs in the recent times, even simple recreations have sounded more like murder than music. I think it’s literally after 2 decades that we are hearing what sounds like a proper remix, kinda like it was the case in the 90s or the early 2000s. They would add what was popularly known as Jhankar beats but more or less would keep the structure and the feel of the song same leaving it undisturbed.

Here somehow though these songs sound enhanced and richer thanks to the addition of Rap by Reble and whatever beats that Sachdev has changed/added.

I think my favourite recreation is Yeh Ishq Ishq, Sonu Nigam sings for about a minute in that 3 minute plus song and I swear no one else could have pulled off that song like he did. He was the perfect choice to get Rafi’s lines done. Somehow every time I hear his verses I get goosebumps because there’s this tone of defiance and frustration that I hear in those verses about a man who’s not allowed to die, nor exactly can he have a life. Yet a love greater than anything else keeps him going in that state where he’s essentially a ghost who is between both the worlds. What better description for a spy who has to both give up his identity and homeland for the sake of that very homeland and then be someone else, somewhere else. He has to do and be all these things that are akin to poison that he has to both swallow and also inject into others to save countless lives.

As for usage of music in action sequences, I am partial to the usage of the title track at the end of D1, because damn! I sat waiting in the theatre for that song to appear and was like, please don’t tell me he’s used that song for end title credits. A song that good deserves better and shouldn’t be wasted in credits. But just a few minutes later we see Hamza in the driving seat and I can’t tell you how excited and euphoric I got when the song started. Someone in my theatre, in a multiplex legit went Woohoo and another whistled; I couldn’t even be annoyed because I totally got it - such a paisa vasool experience; especially in a theatre, because no other phrase can accurately convey the feeling.