aao naa..

this blog appears to be completely abandoned after its relatively recent resurrection at blogspot. shayad work, shayad movies, shayad dono, hoho.

i've exhausted the bollywood export list - finished dev yest nite. quite appealing if u disregard the occasional mumble of fardeen khan. of course the best item is the vaartalaap between ab n omPuri..amazingly slick even tho the scenes are rite out of stage. omPuri's standpoint appears neglected after a while n maybe nihalini doesnt put in that much effort to bring out his shades with the surprise death at the end. of course, characters can be understood in rivetting discussions on the porch outside the theatre but its the director's job to prevent us from doing so. kareena has the same yuva-no-makeup-kindof look. even tho she continues to look worse, seems she has quite mastered her getting-into-the-character abilities since she tried portraying a whore in chameli.

kyun ho gaya na audio is out, so is dhaani. i hope ripped mp3s of dhaani wud be soon available. hoho. KHGN boasts of this melodious aao na (yo sandhna sargam, nobody can sing soft romantic nos like her) among usual hi-pitch jing bang of SEL. pyaar mein sau uljhanen has the ballad-jinglish feeling to it (MIO calls it alfresco ambience of marching beats, i agree that there is little of self-congratulatory flourish which perhaps makes me like them). not so surprisingly SEL's music (when it is not so deep in melody, notably DCH n armaan in recent times) borders on either shankarM's hi-pitch duniya-ko-bataaaaanaaaa-haiiiiiiiiiii or strongly conversational jingles. cf. also kuch na kaho. KHNK was an external influence undoubtedly: heavy arrangements with a techno-touch. these days SEL trio appears to be overworked beyond their creative potential.

aah n hyd blues 2 is also in the making. audio is a mishmash charac of nagesh kukunoor, however 2 classical-rock(hoho) pieces by fuzon stand out: both mora saiyaan mose bole na n tere bina are semi-classical pieces with backing percussions. ghatam again shows up in mora saiyaan, wonder if they've been always using it or it is me. hazaron khwahishen aisi too delved into semi-classical genre altho i think svanand kirkire is strictly more trained than fuzon or strings. order(less semi-classical): svanand -> fuzon -> strings. (i'm conveniently forgetting kailash kher n misc others) interesting to observe that the pakistani bands are the ones who are indeed bringing out the full-blown classical rock genre. compare with silk route or lucky ali, who sound more western. hariharan's attempts in colonial cousins were among those who founded this genre. he didnt follow much upon that except the one-n-only kaash which came around the same period. misc other ppl that i can name off-hand: sandeep chowta- mitti, sandesh shandilya (hmm now u know!). and again, inspite of their classical base both strings n fuzon are high on melodious content too.

n finally, an interesting article on comingOfAge of sex in indian movies. the themes have got an extremely mature treatment at hands of competent directors. article misses the fire n some others. movies like boom n gf are crassy commercialisation of the concept appealing to both base-senses of the audience, sex n masala. s'one needs to render a more mature take or perhaps pull off a remake of some of those earlier-ahead-of-times movies in event of greater liberalisation of minds of desi population n censor board.

ah..there is so much to write when i come down to it. several new remixes have come up on the scene. contrary to usual public opinion, i strongly support this medium (here i wrote abt it long back) of throwing light back on longLostForgotten songs, provided you do it well, in style n with full elegance. (too many constraints i guess, hoho). few notable ones:
bombay vikings: chor do aanchal album.
?: saiyaan dil mein aana
?: kabhi aar kabhi paar (a mega-surprise item. wonder how cud sb's creative instincts recognise the foot-tapping potential of this old nasal suraiya number hoho)
mahalaxmi iyer: bhor bhaye panghat pe (from satyamShivamSundaram, preservations attempts for lata's voice are notable)