All well between Ashutosh & Rahman

A. R. Rahman is a musician with whom every filmmaker wants to work over and over again.

So, when Ashutosh Gowariker decided to break away from the collaboration after successes like Lagaan, Swades and Jodhaa Akbar, speculations were rife that the two had fallen apart.

However, Ashutosh clarifies that they are still good friends.

"Why I could not work with Rahman for What's Your Rashee? was because I wanted to finish this film quickly. But he was already booked for months for films like Slumdog Millionaire and Delhi 6 then. I would have required a lot of time considering I needed 13 songs for the film. So we decided that we shall skip it this time," he says.

"But I think I have got great music from Sohail (Sen) in this film as well. His father had introduced me to him and asked if I would like to listen to his son. And I was very impressed with his capability," adds the director.


Courtesy: indiatoday.intoday.in

Rahman uses novel concept for Endhiran

If you have listened to Rehna Tu in Delhi 6, you cannot miss the final piece in the song, a peculiar type of instrumentation. Are you still wondering about the instrument that was used? It is in fact the Continuum fingerboard. This is a touch screen keyboard and is being used only by the rarest of rare music composers.
AR Rahman has tried the usage of this novel instrument in Delhi 6 and happy with the results he is now using this Continuum fingerboard for Endhiran. But the news here is that it not for a single song but for the whole movie.
With this novel concept there is no doubt the songs will top the charts.

Courtesy: behindwoods.com

Delhi-6 Movie Review

Well, 'Rang De Basanthi' was about embellishing the young rebels with spirit-of-patriotism that had a very colorful appeal. Yippee!! Rakeysh Mehra is back with a bang emblazoning Delhi fantastically. Trust us; it's an unforeseen 'Wall of Old Dilli' where nothing rules, but everyone is surmounted with humanity. Of course, the auteur unravels the beauty of not just the street corners, jelabi shops, but heart-binding relationships… An appealing relationship between various communities has been decorously depicted that draws us straight into streets of Chandni Chowk. Perhaps, it's not 'too-sweet-for-the-heart' moments as there are peculiarities of caste-communalism differences that get us through a chain of unexpected sequences.

Precisely, the film possesses the best attributes of getting ennobled as 'World Cinema'. Maybe, the plot is a bit clichéd to 'Swadesh' where an NRI makes his way to India getting adhered to scenario bounded with happiness and tribulations.

So if you are guessing what could be the common traits between 'Rang De Basanthi' and 'Delhi-6' here we have it for you in a platter. An enriching characterization with the finest narration is what you will witness. Rakeysh brings in a couple of metaphors that goes more relevant across the characters; 'Kaala Bandhar' and Stage Play of 'Ramayana'. Indeed, Rakeysh deserves special applause for these exceptional motifs…

When his Naani (Waheeda Rehman) loves to breathe her last not in New York, but in her hometown Chandni Chowk of Delhi, her grandson Roshan (Abhishek Bachchan) fulfills the wish. But sooner, he gets more glued to the new land of fun, frolic and happiness where everyone is blessed with a good heart and his friend. He finds elated amidst the kites, pigeons, sporting snookers with Uncle Ali (Rishi Kapoor) and tasting jelabis. On the pars, he is stuck with puzzling thoughts about witnessing untouchables, an arrogant police officer (Vijay Raaz), and his uncles (Om Puri, Pawan Malhotra) who've risen within their house. And finally, the sweet Bittu (Sonam Kapoor) caged in a circle of ancient-culture.

If you're a good analyst of films, there's something uniquely trenchant with Rakeysh. Unlike other flicks that have carried on with the First-Second half, the director has inherited the narration with 3-Act formulas. Something that isn't common, right? Yeah, 'Delhi-6' is yet another example to suggest the changing face of Bollywood.  Getting on with the metaphors of 'Kaala Bandhar' and 'Ramayana' stage plays, he tries pulling the realistic pictorials. When the throngs are bounded devotionally watching the mythological drama, politicians interrupt it. And again, watch the special performance of Lord Shiva's 'Rudra Thandava' for the politician.

It's all about – Even Gods get down for the sake of politicians in the present world. Years back, one incident had really shaken not just the Dilliwalas, but the entire Nation and it was the 'Monkey Man' terrorizing the streets. Blending it to the script, the idea has worked out well. The director's portrayal of the Hindu-Muslim communal conflict and the solution drawn out it is quite appealing.

The characterizations have been brilliantly designed. Rightly as Sonam suggested 'it is Delhi who's the protagonist', it's true and we feel it too.  There aren't too many locations, but patently the streets of Chandni Chowk have been decorously portrayed. Hats off to cinematographer Binod Pradhan for a spellbinding piece of work. You don't see Abhishek and Sonam alone presented with prominence, but everyone seems to have had a vital role to play. Be it Rishi Kapoor with his hidden love or the so-called untouchable Divya Dutta; they're top-notching with their performance. Abhishek Bachchan is up with his usual resplendence while Sonam seems to have matured up from her 'Saawariya' days.

The musical score by A.R. Rahman is 'wordlessly colossal', especially the number 'Masakali' is a rich fiesta offered to the audience. Don't miss his background score in the penultimate sequence where there's hunt for the 'Kaala Bandhar'.

Precisely, the screenplay is intricately beautiful that you don't feel like watching the film but taking a walk down 'Delhi-6'.

On the whole, 'Delhi-6' is an incredible flick in terms of all panoramas. The film is simply prodigious with flawlessness and a piece of work that takes Indian Cinema to the next level.

Verdict: The real taste of Delhi.

Rating : ***1/2

Courtesy: indiaglitz.com

Mehra - DELHI 6 is about characters, not stars!

Despite having worked with megastar Amitabh Bachchan (AKS) and superstar Aamir Khan (RANG DE BASANTI), Rakeysh Omprakash Mehra insists that his films deal with characters and not stars or superstars. The accomplished director clarifies by saying that it's the film and the story that works and not the stars who make films work.
Maybe that was the reason why Rakeysh has worked so hard on the script of his upcoming Friday release, DELHI 6, starring Abhishek Bachchan, Sonam Kapoor, Rishi Kapoor and Waheeda Rahman. As is known, a lot of input in DELHI 6 was Rakeysh's own experience of his childhood days in old Delhi, earlier known as DILLI 6 (due to the postal code) since his whole family, both maternal and paternal belong to Delhi.

Script writer Kamlesh extended the story idea further but what will come as a surprise to many is that lyricist Prasoon Joshi too played a very important part in the script writing, apart from handling the lyrics and dialogues as well. Rakeysh acknowledges Prasoon's help saying that Joshi took the story to a completely different level through his creative inputs. And it is the combined efforts of all the three that DELHI 6 and its collage of characters take shape in the film.

Rightly said - It's the story and script that touches the heart and stars can only help in bringing the audience to the theatres! Rest, as they say, depends upon the merit of the film.


Courtesy: glamsham.com

Delhi-6 review: Rakeysh Mehra misses the bus this time

Taran Adarsh/IndiaFM

Rakeysh Omprakash Mehra thinks out of the box and it's more than evident now. First Aks, then Rang de Basanti, now Delhi-6. A two-liner of the story may give you an impression that it's similar to UTV's earlier outing Swades, directed by Ashutosh Gowariker: An American of Indian origin returns to his roots and decides to stay back in India. But Delhi-6 bites more than it can chew.Preview, images and videos: All about Delhi-6 | Sonam Kapoor, the Masakaligirl | Check out our special on Abhishek Bachchan Set in old Delhi, the screenplay [Rakeysh Omprakash Mehra, Prasoon Joshi, Kamlesh Pandey] takes its own sweet time to come to the point. In fact, the entire first half is dedicated to the sundry characters in the bylanes of old Delhi, where several stories run parallel with the main plot. The two warring brothers [Om Puri, Pawan Malhotra] and the wall that divides the two; the daughter of the house [Sonam Kapoor] aspires to be an 'Indian Idol' contestant; a moneylender's [Prem Chopra] wife has an illicit relationship with one of his lecherous debtors [Cyrus Sahukar]; an 'untouchable' [Divya Dutta] makes more sense than the so-called thekedaars of samaj; a friend of the family [Rishi Kapoor] has still not forgotten his first love [Tanvi Azmi]. Oh yes, there's also a 'Kaala Bandar' who spreads havoc in the locality. Really, Rakeysh tries to pack in multiple stories in those 2.18 hours. But, alas, the problem is that barring a few individualistic sequences, you don't carry the film home. The film is engaging in bits and spurts. Worse, it tends to get monotonous, preachy and boring and the end is so bizarre, you actually want to ask the writers, 'Hey guys, you okay?' Let's cut a long story short: Rakeysh Omprakash Mehra misses the bus this time. Delhi-6 tells the story of a young American boy Roshan [Abhishek Bachchan] of Indian origin, who comes to India for the first time, to drop his ailing grandmother [Waheeda Rehman]. She wants to retire and spend the last leg of her life back home; dissolving into the soil she was born in. In America, having led a very western lifestyle, Roshan is not familiar with the sites and smells, the food and culture, the religion and beliefs, this huge melting pot that India is. He believes that Dadi had left her family and loved ones back in America, only to realise that how wrong he was. The warmth and affection of the neighbourhood embraces him with open arms. Amidst all this he meets the beautiful Bittu [Sonam Kapoor], who wants to break free from the typical Indian social structure. Roshan is destined to lose his heart to her. That Rakeysh Omprakash Mehra is an accomplished storyteller is evident in several individualistic scenes. Note the scene when Vijay Raaz slaps Abhishek and Abhishek slaps him back. Also, portions in the second hour, when a Baba [Akhilendra Mishra] triggers off the Mandir-Masjid talk and divides the two communities, is very well structured. The sequences are disturbing and the writers and director succeed in exposing the fickle-minded people residing in the locality. But the screenplay isn't foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat. Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is. The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay. Rakeysh's handling of the subject is exemplary at places. But the writing [faulty at times] as also the execution of the material isn't the type that would appeal to all sections of moviegoers. A.R. Rahman's music is outstanding; it's easily amongst his finest works. 'Masakali', 'Ye Dilli Hai Mere Yaar', 'Rehna Tu', 'Maula' and 'Genda Phool' are amazing tracks. Ditto for Prasoon Joshi's lyrics; they're gems. Binod Pradhan's cinematography is brilliant. Watch the Jama Masjid sequence [breath-taking] or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible! Abhishek doesn't work. His American accent sounds fake. Sonam is likeable. Waheeda Rahman enacts her part well. Rishi Kapoor is wasted. He deserved a better role. Amongst supporting actors, Om Puri [powerful], Pawan Malhotra [flawless], Vijay Raaz [tremendous], Deepak Dobriyal [genuine], Divya Dutta [admirable] and Cyrus Sahukar [likable] leave a mark. Prem Chopra is alright. Atul Kulkarni looks like a buffoon. And what is Raghvir Yadav doing in this film? Supriya Pathak, Tanvi Azmi, K.K. Raina, Akhilendra Mishra and Dayashanker Pandey are passable. Amitabh Bachchan's presence in the penultimate minutes fails to evoke any reaction. On the whole, Delhi-6 has a terribly boring beginning [first hour], an absorbing middle [second half] and a weak end [climax]. At the box-office, the business is bound to be divided. The film may record bountiful collections at multiplexes in its opening weekend. The popular music as also the fact that there's no major opposition will benefit the film in the initial days. But the business at single screens as also the mass belt will be a shocking contrast. However, the cracks will start appearing sooner than expected, even at plexes. Thumbs down! Verdict: One-and-a-half stars

Courtesy: sify.com

Delhi 6 - Music review

Rahman’s magical soundtrack After tasting international success through Slumdog millionaire, the Mozart of India is coming up with his latest offering Delhi 6. Last year has been quite special for Rahman and his fans as whatever he touched turned gold whether it was Jodha Akbar, Ada, J.T.Y.J.N, Yuuvaraj, Sakkarakatti or Ghajini. And to top that all an international movie which got him the Golden globe - a lot was indeed riding on Delhi6 and the fact that Rakesh Omprakash Mehra and Rahman’s

last collaboration was the revolutionary movie Rang De Basanti, it just couldn’t get bigger than this. Let’s see if Delhi 6 can stand up to its huge expectations or not. Aarti... (Tumre bhavan mein) A devotional piece, which is so simple - which is what makes it so beautiful to hear. Not much of instrumental usage but the chorus put to good use make this a soothing listen. . Arziyan... Another devotional song from Rahman about Allah. And this one will rank right at the top and a sure buy for all believers. The rich vocals by Jaaved Ali and Kailash Kher, some brilliant lyrics by Prasoon Joshi and immaculate use of instruments by Rahman makes this a special song which will melt even the hardest heart, and make it sway to the music. An answer to last year’s Khwaja mere Khwaja, so get ready to spread your hands slowly turn round and twirl with God. If only Rahman has himself sung this, it would have been a perfect rendition.

Bhor bhaye... A classical Hindustani style song sung by Shreya Ghosal, Ustad Bade Ghulam Ali Khan, Gujri Todi is a nice listen, and would surely go well and would impress more when we see the movie. A song, which will surely remind us of Rahman’s guru Illayaraja, especially the style of rendition by Shreya or the way the tabla is used. It bears an unique Illayaraja stamp on it. Illayaraja will surely feel proud of his prodigy, a job well done.

Delhi 6... Now that’s what we are talking about, hip hop song on the lines of Rang de Basanthi’s Paathshaala. Blaaze, Benny Dayal, Vivinenne Pocha, Tanvi, Claire have enjoyed rendering this. The female voice repeating ‘yeh Delhi hai mere yaar’ is haunting. This theme song is so beautifully tuned that if you can close your eyes you can visually enjoy the streets of Delhi in a car, repeating it over and over again. This is going to become a 2009 anthem for youngsters. Dil Gira Dafatan... A sterling vocal work by Ash King makes this the most pleasing to hear romantic number in a long time. It’s a slow and soothing romantic song which will most probably be used as a background music and not mouthed by any actors. Rahman just uses simple string instruments and especially puts guitars to good use to give soul to this number. A song, which would surely become a favorite among fans of soft melodies. It has a striking similarity to Rang De Basanti’s ‘Tu muskaraye’. Genda phool... Rekha Bharadwaj, Shraddha Pandit, Sujata Majumdar with supreme ease transform you to rustic village but Rahman with his brilliant usage of western instruments transforms you to another world of ecstasy all together. With Rajat Dholakhia sharing the music credits with the maestro, this little piece is sure to rule the charts and will be constantly used at many marriage functions! Noor... It’s a small shayeri voiced by Amitabh Bachchan which is given an earthly, vibrating soothing music. The shayeri does demand a ‘wah-wah’. (As it runs for less than a minute we aren’t rating it). Hey Kaala Bandar... A rap and hip-hop song which sounds like a satire at the world itself, Karthik, Naresh, Srinivas, Bony Chakravarthy have rendered the song brilliantly with Rehmanism taking over. With peppy and danceable music this is going to ring in many phones as a ringtone for a while. Masakali... This has been running in our minds for quite a while thanks to the promos. Rehman’s slow poison seems to work brilliantly yet again as the 40 sec start up to the song in the promos’ have already captured the hearts of many million Rehman fans. And with the full song it is going to put the whole nation in a frenzy. It might be the next Kabhie Kabhie Aditi or the next Chaya Chaya to say the least. Brilliant placement of instruments and Mohit Chouhan’s lively rendition makes this a must hear. Masakali will do for Mohit what Chaya Chaya did for Sikhwinder. Rehna Tu... Rahman doesn’t keep the best to himself but whatever he renders would become the best automatically and this song sung by A R Rahman along with Benny Dayal & Tanvi is a simple song driven to greatness by our Mozart’s magical voice. A romantic number which will be widely used by people who love to spend their time at the beach watching the sunset. It’s magical. Verdict: Rahman has done it yet again, a perfect soundtrack, which has something for everyone. This is not a musical - this is magical! Go and buy the original CD available on T-series, as this album is going to fly off the music counters in no time. All hail the director Rakesh Omprakash Mehra for selecting these masterpieces and compiling everything together. Even if Slumdog doesn’t get the final nod from the Oscars this year, we have a worthy album, which can bring us the next!!

Courtesy: behindwoods.com

It's all a number game: DILLI 6 is now DELHI 6

From the beginning, the Abhishek Bachchan and Sonam Kapoor starer was known by its Hindi name "Dilli 6". However, as the release date drew closer, the film title was changed to its English form Delhi 6. Why the sudden change? It is perhaps a simple belief in numerology. Let's take Rakeysh Omprakash Mehra, the maker of the film, for example who added an extra "Y" to his first name. Numerologically speaking, the new title would actually be beneficial for everyone involved with the film. The old name "Dilli 6" adds up to the number 18, which is not auspicious at all for Abhiskek and Sonam. However, "Delhi 6" adds up to the number 24, which is very powerful. This new name will mainly prove to be beneficial for Sonam Kapoor and the producer Ronnie Screwvala. Ronnie Screwvala's date of birth is the 8th June, and 6 is one of his luckiest numbers.

Let's hope that the new name change does wonders for the film. Here's wishing Delhi 6 the best of luck at the box office.

Courtesy: bollyspice.com

Rakeysh is curious about Delhi 6

After his blockbuster Rang De Basanti, Rakeysh Omprakash Mehra is busy shooting Dilli 6 and says his wife Bharathi has just begun to edit this Abhishek Bachchan and Sonam Kapoor starrer. The director is curious to see the outcome of his hard work.

"I'm dying to see what I've done in Delhi 6. I haven't entered the editing studio yet. Since she is doing the editing, she first needs to be happy with my work. I need to let her do her work. It's the same with any other technician on board," Mehra said.

"I can't sit on AR Rahman's head when he's composing a song. Or I can't instruct Binod Pradhan on the lighting when he's shooting. To me, editing is the purest art form in cinema. It's the only vocation that's truly related to cinema.

If you see cinematography it originates in photography and painting. Screenplay writing originated from plays, stories and literature. Acting has its roots in folk and theatre. Direction is also a derivative. Film editing is the only pure and original art form. It's the only vocation born for and out of cinema. So I'd rather let it be done by someone who knows her job."

Mehra believes screen writing and editing are the backbones of a movie.

"The way scenes are cut determines the film. I don't know her job better than her, so I let Bharathi take care of the material. What would I do sitting with her? I've got better things to do in life."

Mehra is far from fatigued.

"Am I tired? Tiredness is a state of mind. But yes, I did need a break. So I'm writing and that for me is a break from direction. While directing I was reaching the sets every day at 8 am and leaving at 10 pm. Writing requires a different discipline and a different energy. I'm already writing my next film."

Whom will he cast now?

"I never think of whom to cast while writing. The characters get cast on their own. The script chooses the actor. The one I'm writing now needn't be the one that I'll direct next. What one makes depends on so many factors including the availability of the actors that I want.

"Yes, I do have a wish-list for my next film. But one has to have options. Suppose I don't get Rahman for the music, I might go with Vangelis (Greek composer). And it'd become a totally different tune. And if it's Om Puri instead of Amitji (Amitabh Bachchan), it's a different film."

Courtesy: ndtvmovies.com