i never thought this day would come that rawat and my thoughts would coincide. The movie is a pure mess.
On 6/19/10, Gopal Srinivasan <[email protected]> wrote: > There's no dearth of arm chair critics, is there? How many other Manis can > one find? > > On Tue, Nov 6, 2007 at 00:59, V S Rawat <[email protected]> wrote: > >> On 6/19/2010 8:42 AM India Time, _Gopal Srinivasan_ wrote: >> >> > Surprisingly, AR Rahman delivers his most uninspired score in years, >> > which probably explains why Ratnam wasn't inspired enough to shoot his >> > songs as innovatively as he usually does. >> >> Another example of a critic putting the blame on wrong head. >> >> ARR's music is good, but if songs get used poorly, that is not ARR's, >> but the director's fault. >> >> SPOILERS ALERTS >> >> ARR's music appears misfit in the film, if that is what the reviewer >> meant, I agree with him. But the blame is on poor script of the film >> leading to a lack of confusion from the side of director that he >> didn't portray the characters with a certainty. In a wish to show >> changes of hearts, Mani has made a khichdi of characters and their >> personality traits, and that made the great purpose lyrics of Gulzar, >> thereby the music, become misfit. >> >> the characterisation of Beera is not shown such that he is not showing >> any class consciousness, not doing anything good for people or masses >> as such. All those long exchanges trying to prove that beera has 10 >> heads like ravan, meaning 10 personalities, fail to convince the >> viewers because we don't see beera doing things in tune with those 10 >> heads. His avenging his sister by torturing and be-arm-ing the >> runaway-groom is personal vandetta. surprising, when the to be groom >> gatecrashes the to be bride's house while marriage is going on, didn't >> you all notice all that exchange about cutting the hand that has >> touched beera's sister? then, what great new thing beera does by >> chopping the hand later on, when he could have cut the hand right >> there, so was his il-reputation? >> >> Does anyone remember Dayawan by FirozKhan, based on that smuggler's >> life? remember the scenes when Vinod KHanna was shown literally >> helping people in any many ways, and people crowding him, swarming >> him, singing praises for him. I think that was the proper display of a >> man of the "mass". Mani, in ravan, failed to depict that. >> >> And that's why Beera as well as thok de killi, along with their >> depictions of 10 faces of beera, and along with "door hai dilli" "not >> getting what we deserve, getting only crumbs", "chheen ke le le apna >> hissa", all seems falsehoods and lies just because the visuals don't >> leave any such impression on the viewers. >> >> Thok de Killi is one of the rare songs so superbly penned by Gulzar >> saab, because you all know that gulzar is a man of emotional feelings >> of heart, and is not a person for thinking brain, Gulzar has never >> written "social issue" lyrics earlier, the way Sahir used to write, >> and here, when gulzar does debut as social issue lyricist and ARR >> gives appropriate music for that, it is mani that failed to make that >> greatness of lyrics and music get reflected in the film on account of >> poor script. >> >> khili rey, was a personal song, that was shot ok with nice steps shown >> by Aish, the song in the film didn't touch the heart of viewers the >> way Humse Hai Muqabla's small singing pieces had done. Firstly, this >> song had been shown in the running, whereas the song clearly hints a >> reaction, response of blossoming of a lady on her first encounter with >> a male, but the film shows all the long vocal bed scenes of Aish and >> Dev before that. The scene had so unimaginative boring dialoge that >> that was more of a comedy effect instead of the melting of the lady - >> the way it was superbly shown in Roza when the anger of the lady leads >> to ess oh aar aar wye sorry. so, again, nobody remembers after a few >> seconds of the end of this sweet lovely song, that such a song has >> been there. Utter wastage by Mani. >> >> And Raanjha. What a superb film version. An entirely new thing, new >> concept, new style. What an effect that song created on listening and >> seeing in the visuals. great picturisation. >> >> but, again, the song is talking about a girl and guy falling in love >> with each other, whereas the film never shows Aish feeling love >> towards Beera, it was one sided sexual desire in the body of Beera >> towards aish. So, neither Beera was in love as such towards Aish (he >> just desired her physically) so he was not at par with platonic love >> of Raanjha, and Aish was no way in love with Beera or felt anything >> but hatred towards him, so Aish was outright not Heer. And that's why >> this song failed to convince viewers. An absolutely misfit song. >> >> the same goes with Behne de, such a lovely song, people are talking >> about its great picturization, but it is unconvincing to me. Remember >> Dil Se, the way Manisha keeps on manipulating Shahrukh, and Sharukh >> getting dragged towards her, well, i think something like that >> scenario was fit for behne de. but here there was no background, no >> build up, neither this 11th head of beera that loves a lady was ever >> shown, and no private exchanges happened between Beera and aish that >> would have broken through beera's rustic shell and would have gone >> into his heart. All that fearlessness of Aish I am not convinced of, >> as while she sees eyes to eyes with beera and talks openly, she still >> keeps on murmering "i don't want to die". that dialoge is a misfit for >> the personality of Aish and that again leaves viewers convinced. She >> doesn't want to die, then why does she jump all the way down the fall >> that would have killed her? why didn't make any attempt on Beera's >> life before ending her own? So, when beera appreciates the false >> fearlessness of aish, it sounded false, and thus beera falling in love >> towards aish "on this pretest" became a falsehood, and the song Behne >> de went dud. Killing this song is the deadliest sin of Mani that he >> can't be ever forgiven. >> >> and now my fav, Kata Kata. Actually, I couldn't place the chronology >> (timing) of the song in the turn of events in the film. It was >> probably the first incident in the chronology script, the film >> originated and proceeded from this scene. in his desire to draw >> inspiration from ramayan, Mani went ahead drawing parallel between >> Surpnakha's mockery and disfigurement leading to Surpnakha's bro ravan >> kidnaping seeta, Mani failed to understand and adapt the basic ethics >> of Ramayan, that it was a clash of rakshas culture in which any male >> or female can meet, talk, date, have sex with anyone he/she wishes, >> versus the rama's culture of chastity virginity and monogamy. >> >> In ramayan, it was surpnakha trying to seduce lakshan first and then >> ram, and she was dumb enough not to take their soft hints that they >> don't want to do it, so she gets angree, tries to hurt seeta, that >> leads bros disfiguring her. >> >> But the movie's Surpnakha suffered from being portrayed good. She was >> ideal sister of hindi films, and movie's ram, dev, unprovked shatters >> her life by spoiling her marriage, its background was never shown why >> and how Dev would go to such extreme, when he himself is a loving >> happily married husband, that she breaks in to the marriage ritual in >> such an ugly manner, shooting among the vast crowd of children and >> females, and further arranges that this surpnakha was the only one >> taken to police thana or somewhere where policemen rape her overnight. >> >> ye to hajmola lene ke baad bhi hajam nahi hua. If this was Dev, he was >> never ram to begin with. It became one of the dozens of person >> vandetta films that senior bachchan had played so well, and it went >> poles apart from ramayan. >> >> And while the viewer was confused realizing all these cause and >> effect, consequences, chronology of events and re-judging whom to put >> blame on, kata kata song happens. We were not ready for it. There were >> massive script transformation was taking place that we need to >> understand to appreciate the film, and we were shocked as our Mani's >> Ram being actually a ravan to begin with, and song came and went and >> we wished that it gets over soon so that the film can go on. the >> things described above happened after the song, but those were such a >> drastic about turn in the film that we quickly forgot the song and >> continued understanding the climax. >> -- >> >> It is the foolishness of Mani that is reflected everywhere in the >> film, and thus, Mani so systematically lets down a lovely work by ARR >> and Gulzar. >> >> -- >> Rawat >> >> >> ------------------------------------ >> >> Are you searching for a reason, to be kind? >> <b> >> Explore, Experience, Enjoy A.R.Rahman - The Man, The Music, The Magic. >> Only at arrahmanfans.com - The definitive A.R.Rahman e-community. >> >> Homepage: http://www.arrahmanfans.com >> Admin: [email protected] >> To Subscribe: [email protected] >> To Unsubscribe: [email protected]! 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