before I get blasted....the previous mail was directed at media critics and not users of this forum.....
On Sat, Jun 19, 2010 at 3:42 PM, Matthew Islam <[email protected]>wrote: > To say that AR Rahman has come up with a weak score is a terrible thing to > say because the score for Ravaan is what makes it watchable in the end. The > dramatic affect of the film would have not made any impact had the score not > been so good. I can point 40 such instances in the film where the score made > the movie impactful. So seriously......the critics need to give this a > rest...... everyone had a comment on the film's so called flaws...... ever > ventured in making a film yourself....... may be you should ........ > > TC, > > Matthew Islam > > > On Sat, Jun 19, 2010 at 11:07 AM, 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]! Groups >>> Links >>> >>> >>> >>> >> >> > > > > -- > "God Willing, For the valiant heart, nothing is impossible". > -- "God Willing, For the valiant heart, nothing is impossible".
