Its a sin to have an opinion..right?
--- In [email protected], Gopal Srinivasan <catchg...@...> 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 <vsra...@...> 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: ad...@...
> > To Subscribe: [email protected]
> > To Unsubscribe: arrahmanfans-unsubscr...@...! Groups
> > Links
> >
> >
> >
> >
>
