(DM)Rajeevkhandelwal Movies topic/Update - Page 49

Review: Rajeev, Soha give a winning performance in 'Soundtrack'

Originally posted by: OliveySOftheart

yes my friend ..i would do 😳 just keep open your eyes in here i will be to get posted lots of information in here about soundtrack movie 😊 and today is big day 7 oct soundtrack will released

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'

Originally posted by: ronojoy_ria

ok but oily i pmed u but u ddint gave any reply