Gowariker picks new composer over Rahman for...Rashee?

After working with Oscar-winning music maestro A R Rahman in three of his hits—Lagaan, Swades and Jodhaa Akbar, director Ashutosh Gowariker has roped in Sohail Sen for his romantic comedyWhat's Your Rashee? set to release on September 25.

Sen, who has earlier worked on multi-starrer film Sirf in 2008, has composed 13 different songs for the much-awaited movie. Lead actors Priyanka Chopra and Hurman Baweja are both vouching for the quality and variety of songs that the new music director has composed.

Priyanka, who essays 12 characters in the movie, said: "Given that there are 12 characters belonging to different backgrounds and different zodiac signs in the film, it's amazing how Sohail [Sen] has beautifully brought all of them together with a range and mixture of distinctive sounds."

"Each song is extremely unique and true to depicting each character's story. I am anxiously looking forward to the launch of the music from the film," she added.

Meanwhile, Hurman too is all praise for the composer.

"Imagine hearing an album and finding it impossible to choose a favourite track because every track you hear becomes an instant favourite. That's just what Ashu sir [Ashutosh Gowariker], Javed [Akhtar] saab and Sohail have created—13 distinctive compositions in one addictive album," he said.

What's Your Rashee? is Gowariker's first romantic comedy and is based on a Gujarati novel, Kimball Ravenswood, by Madhu Rye.

The plot revolves around a young Gujarati man in pursuit of his dream girl with the catch of finding her within 10 days to save his family from an unforeseen ordeal.

The movie is jointly produced by UTV Motion Pictures and Ashutosh Gowariker Productions.

Courtesy: sify.com

Jodhaa Akbar could make even more money than OSO

Getting a royal welcome on both sides of the Atlantic, Ashutosh Gowariker's Jodhaa Akbar, grabbed an estimated $1.3 million in North America and $750,000 in the United Kingdom over the weekend.

Factoring in the Gulf countries, the Caribbean and Australia, the three day haul could reach an awesome $3 million.

The film may not have crossover appeal to the mainstream audiences but anyone who reads the opening of The New York Times review may be tempted to see it. 'They may not make'em like they used to in Hollywood,' critic Rachel Saltz wrote, 'but sometimes in India they still do. Jodhaa Akbar... is filmmaking on the grand scale of Cecil B De Mille (The Ten Commandments), with romance, stirring battles, and enough elephants and gold to sink the Titanic .'
The US box-office was especially impressive given the awful weather conditions in the Midwest.

"If the goodwill and enthusiasm for the film continues, and we at UTV feel it will, Jodhaa Akbar could make even more money than Om Shanti Om," said Lokesh Dhar for distributor UTV. "We are not looking at the success of this film in terms of another hit for UTV (which has distributed hits like Don). It could become the all-time highest grossing Bollywood film in North America."

Farah Khan's OSO starring Shah Rukh Khan , who also produced it, grossed about $3.8 million in North America and holds the record.

"Despite the fact that Jodhaa Akbar is three-and-a-half hours long," Dhar continued, "and theatres are having less number of shows, we are doing extraordinary business."

The film, which got decent reviews from many mainstream publications including The New York Times and a few pans like the one in the San Francisco Chronicle, had a record 135 prints released in North America. In the United Kingdom it has some 70 prints.

The full week's gross outside India could exceed $4.5 million. Even if the film's takings were to fall by 50 percent in subsequent weeks as it traditionally happens for Bollywood movies, it could still end up with some $8 million.

Unlike in India where the entertainment tax takes away nearly 50 percent of the box office collection, Bollywood producers get about 65 percent of the overseas take.

Bollywood insiders believe that even if Jodhaa Akbar does not do spectacular business in India, the overseas moolah will help it recuperate its reported $10 million budget.

Another reason why the film may not suffer a steep decline in the second week is that there are no big movies challenging Jodhaa Akbar for several weeks, till the action thriller Race, which is also distributed by UTV.

"We strongly feel that Jodhaa Akbar is not going to be a one week phenomenon," Dhar said. "Many people are telling us that they are seeing the film two or three times, taking friends and family members who may not usually see films in theatres. The word has gone out that this is one film you ought to see on the big screen first."

Indian Americans are also spreading the word that Jodhaa Akbar is not like the typical Bollywood production, and some of them are quoting reviews like the one in The New York Times.

'These royals are played by Hrithik Roshan and Aishwarya Rai Bachchan,' Saltz continued, 'two rather astonishing specimens of human beauty. Neither is a great actor, but both know what's required of a star and seem to the palace born.'

She did not forget the music and Kiiran Deohans for his cinematography. 'The film bounces along to a memorable score by A R Rahman. (I am still humming the songs),' Saltz wrote.

Giving the film four stars out of five, the BBC's Tajpal Rathore wrote: 'One is perhaps starting to expect too much from director Ashutosh Gowarikar after such masterpieces like Lagaan and Swades . But he seems to raise the bar with his historic magnum opus, Jodhaa Akbar.'

'Extensive though it is, Jodhaa Akbar cannot be discussed using small talk,' Rathore wrote. 'Everything in the film is big and grand: the palaces, the armies and most importantly, the love story. It hits at the heartstrings and somehow has enough energy to sustain itself through the bloated script that perhaps should've been chopped. Ravishing Rai is convincing enough but it's Roshan's majestic performance as the love-struck warrior that packs the punch; it's his film from start to finish.'

Gowariker knows how to tell a story, declared Sandip Ray in the San Francisco Chronicle, referring specially to Lagaan. But in the new film, the review said, he seems overwhelmed by the sheer weight of history.

'The never-ending opening sequence, a CliffsNotes version of Indian history in superstar Amitabh Bachchan's sonorous baritone, doesn't help either,' Roy added.' Or perhaps the film just topples over under the sheer weight of all that gold jewelry.'

The problem with Jodha and Akbar is that they are both too noble, the reviewer continued.

'Epic stories need epic tragedies or at least forbidden love,' he added.' In the 1960 classic Mughal-E-Azam, the rebellious prince (actually the son of Akbar) falls in love with the beautiful courtesan, and her defiant songs became the anthem of star-crossed lovers. (You still hear South Asians singing it at gay pride parades.)'

But there are moments when the film manages to break free of its limitations, the review said. 'Jodha and Akbar duel in an empty palace courtyard, their swordplay turning into foreplay,' it explained. 'A crowd of Sufis whirl, their white outfits glowing against the brick red earth, and the emperor leaves his seat to dance ecstatically with them. These are the real human moments in the film. One just wishes there were a few more.'

Many viewers in New York and New Jersey cinemas said they were not deterred by the film's length. "We have watched on DVD some films which are just about two hours long and we have found them boring," said a 50-year-old man who had driven 40 miles from Connecticut to see the film in a New York theatre with his wife and grown children "But if a film is well made, who worries about the time? And this kind of a film one must first see in a theatre, never mind what good home entertainment system we have at home."


Courtesy: Rediff.com

Jodhaa Akbar is a spectacular watch

Set against the bloody and turbulent period of the 16th century when Akbar is consolidating his empire through unorthodox alliances that includes a marriage to a spirited Rajput princess, Jodhaa Akbar is a leisurely and overdrawn film, which is nevertheless magical for good part.

In a way it is like reading an epic Russian novel. There are too many characters and too much happening. But if you can read through the first 50 pages, you get hooked.

In the case of this magnificently mounted and often thrilling film, with a career defining performance by Hrithik Roshan [Images], the first 20 minutes look like a boring and at times, confusing history lesson which would have become burdensome but for the sonorous narration by Amitabh Bachchan [Images].

But once princess Jodhaa (Aishwarya Rai [Images] Bachchan) is persuaded by her father (Khulbhusan Kharbandha) to forego an arranged marriage to a Rajput prince and marry the young Muslim ruler (Hrithik), the film begins to blossom, and hold your attention.

The film is about three hours and 30 minutes but once it hooks you, the length does not matter.

Never mind how the film, which reportedly cost $10 million, will fare at the box office, there is no denying that it is arguably one of the most spectacular films India has made. Two of its musical numbers, Khwaja Mere Khwaja and Azeem-O-Shaan Shahenshah, are among the film's highlights. The former, a beautifully choreographed Sufi number, which is enthralling and accompanied with gentle trans-inducing movement, takes place at a crucial moment in the film. So does the second number, performed with vigorous dancing, which fills the screen soon after Akbar has consolidated his hold. Add to these songs, the splendidly staged action scenes, especially the sword fight between Akbar and Jodhaa, and a number of battle scenes, and you then have a spectacular epic.

There are times you feel the changes Akbar goes through could have been better narrated but one applauds writer Haider Ali and director Ashutosh Gowariker for not making Akbar a one-dimensional cartoon figure. In one of the most important sequences in the film, for instance, you see Akbar giving into his baser instincts, as he orders a cruel death to a palace traitor.

A still from Jodhaa AkbarIt is not that the royal intrigues and violent confrontations go away after the Jodhaa and Akbar wedding. But the relationship between Jodhaa and Akbar, which is often fraught with misunderstandings and continually challenged by the Muslim clergy and the powers behind the throne like the foster mother Mahan Anga (a hypnotic Ila Arun), becomes the film's main occupation.

The main business then is how slowly the political alliance that created the marriage between Jodhaa and Akbar is turned into a loving and respectful relationship, and how the young emperor deals with the orthodox Muslim establishment, and proclaims religious pluralism. And how in the process he ensures his Hindu wife is given the due respect.

Some historians and viewers may question the plot lines developed in the film. Some may wonder why the film does not show any indication how, in his later years, Akbar would not allow his son to marry a court dancer.

But it is suffice to say that the Akbar we see in the film is quite an intriguing, colourful and tough ruler. And Hrithik brings his muscular presence and charismatic personality to make the role his own. Watch him negotiating with Jodhaa their troubled marriage, and the tense scene in which he saves the life of a friend and tames a wild elephant. Also, watch him in one of the most moving scenes in the film when he reveals to Jodhaa a crucial aspect of his education. Watch also his expressions when he discovers the betrayal by one of the most trusted persons of the royal household and how he lets his mother (an impressive Punam Sinha) come back fully into his life.

Aishwarya Rai Bachchan has never looked this gorgeous. Some of her dramatic scenes are weakly performed but she whips up excellent chemistry with Hrithik.

The film could have gained considerably if the secondary parts have been played with power. As Jodhaa's brother Sujamal -- who is estranged from the family -- Sonu Sood is rather weak. And as such his rebellion and subsequent change of heart do not carry the required emotional weight. The women fare better in the secondary characters.

Working with A R Rahman following Swades [Images] and Lagaan [Images], Gowariker makes an excellent use of the five intricate tunes. The first song, Manmohana, which unfolds at a delicate moment disappears after a minute, and is deftly brought back at an important juncture many minutes later.

Rahman triumphs as a composer whose score, now sonorous, now very light, adds to the film's many moods.

Cinematographer Kiran Deohans not only captures well the vivid battle scenes but also the close ups that convey the growing relationship between Akbar and Jodhaa. Some of the film's most arresting visual scenes come at the end of the Sufi song when Akbar is bathed in celestial light.

Whether it is Rahman, Deohans, the choreographers or the stunt coordinator Ravi Dewan, Gowariker has shown once again what a great team builder he is. The next time he should try doing something very radical for him: make a two hour long, seamless but a pulsating film that has all the passion and intrigue of his previous films.

Rediff Rating:

Courtesy: Rediff.com

A.R. Rahman acquires land for his dream project

Music maestro A.R. Rahman is ready to build a music conservatory in Chennai for young talents who want to learn Western classical music. He has already acquired land for it.

"It's near the Chennai airport. And we plan to start work on it very soon," Rahman told IANS. He says starting a music conservatory is a dream he has nurtured for years.


"I feel young talented musicians in our country, specially those who want to learn Western classical music, have nowhere seriously creative to go. We need to cultivate a taste for Western symphonic music so that an average musically-inclined young musician would be as enthused about learning the violin as the star," said Rahman.

The land purchase puts Rahman's dream plan into third gear.

"We'll soon be working round-the-clock. I want it to be one of the best music schools in our country."

Speaking on his latest music soundtrack in Hindi, Rahman said: "I wouldn't even want to compare my output in 'Jodhaa Akbar' with what Ashutosh Gowariker and I did in 'Lagaan' or 'Swades'.

"Or, for that matter, what Rakeysh (Omprakash Mehra) and I did in 'Rang De Basanti' (RDB). We've done what we liked without thinking of the outcome. You've to go by your instincts in every form of art. I've never intentionally tried to break the mould. I've tried to do what's right."

Two of his old scores are also ready for release.

"Two years back Abbas Tyrewallah's 'Jaane Tu Jaane Na' and 'Adaa' by Tanvir Ahmed were recorded. These will come in the next two months."

And, of course, there's Subhash Ghai's magnum opus "Yuvraj". "It's got Western classical vibes, but the sound is very Indian, very mellow."

He says his music in Ghai's "Taal" helped him earn Punjabi fans.

"I think 'Taal' took me to the Hindi-belt masses. I ceased to be different. Before that I was seen as this oddity from Chennai. Of course, 'Rangeela' got its own glory. But 'Taal' is the one that created a hardcore Punjabi audience for me."

He also has Mehra's "Dilli 6" coming up. "It's turned out very well. Who can say how it will be accepted? Did anyone expect RDB to become so big? Even a small idea can change the world.

"When I came into Hindi cinema with 'Roja', the whole road was empty. A lot of people are still doing good work, but not consistently. Good work can be done even on YouTube on the net. So let's not blame the lack of opportunities for the inconsistent musical output.

"Some of the stuff is undoubtedly good. You can't just write everything off. But I feel the whole idea of pop art has to change.

"Malayalam director Adoor Gopalakrishnan says TV has corrupted popular tastes. I'd have to agree with that. I feel the film medium deserves much better. Even I get pulled into projects which are not right."

Ask Rahman whom he considers a path-breaker after himself and he quips: "Why do we need a path-breaker? One never intends to be a path-breaker. If it happened I'm fortunate.

"Right now we need more experimental melodies in film music. The problem is that the minute you start composing a soundtrack, you're thinking you'll do what sells in the charts. Your intention becomes diluted. It's more about marketing than creativity.

"Which songs should go on the shelf, which should go into the pubs - these questions should come after you create the music. And there's a diminishing respect for creative people. Stars get all the respect because they bring in the audience. But what about other creative people?"

But Rahman is hopeful. "It will all taper off. We'll have more talent coming in."

Courtesy: Nowrunning.com

Star-studded music launches are back!

Jodhaa Akbar

The music of UTV Motion Pictures and Ashutosh Gowariker Productions’ Jodhaa Akbar was formally released by the Royalty of Jaipur (who are the direct descendants of Jodha) - His Highness Maharaja Bhawani Singhji and Her Highness Maharani Padmini Deviji of Jaipur and His Highness Maharaja Brajraj Singhji of Kishangarh.
Present in the magnificent Royal Tent, especially erected for the unveiling, were singers Sonu Nigam, Javed Ali and Bela Shende along with the cast and crew of the film including Hrithik Roshan, Aishwarya Rai Bachchan, A. R. Rahman, Javed Akhtar, Punam S. Sinha, Sonu Sood, Ronnie Screwvala and Sunita and Ashutosh Gowariker . Cinematographer Kiran Deohans, action coordinator Ravi Dewan, production designer Nitin Chandrakant Desai, costumes designer Neeta Lulla and character artistes Raza Murad, Ila Arun, Kulbhushan Kharbanda and writer and character artiste Haider Ali were present. The other guests who attended the launch included Amitabh Bachchan, Shatrughan Sinha and Sonakshi Sinha, Sanjay and Zarine Khan, Zayed Khan, Amar Singh and others.
Said Ashutosh Gowariker, “The experience of producing the music of Jodhaa Akbar has been fascinating, exciting and unique. One of the pleasures of working on a film is repeating your team. And if that team happens to be Javedsaab and Rahman then the process of creating music is all the more wonderful and joyous.”
Speaking on the music, A R Rahman comments, “It has always been a pleasure to associate with Ashutosh on his projects. We started off with Lagaan and then Swades, both of which gave me immense creative satisfaction as a composer. It was an honour that Jodhaa Akbar was offered to me.”
The music of the film marks the launch of UTV Music and UTV chief Ronnie Screwvala said, “A film of the magnitude and calibre of Jodhaa Akbar with its outstanding music compositions is the perfect vehicle for the launch of UTV Music.”

Courtesy: ScreenIndia.com

‘My images of Akbar and Jodhaa are from the Amar Chitra Katha’

From unsuccessful thrillers in the ‘90s he moved to the classic and Oscar terrain with Lagaan. He then won accolades for another issue-based film, Swades. Ashutosh Gowariker has now moved on - by moving back in time to Mughal history


Was the success of Lagaan a trigger for attempting another period drama? What inspired you to tell the love story of Akbar and Jodhaa Bai?
Right after Lagaan, I already had a script of an NRI coming and discovering India, but while I was working on Swades, my friend and the writer of Jodhaa Akbar, Haidar Ali, gave me this story about a Rajput princess and a Mughal emperor and my immediate reaction was wondering how come no one ever thought of making it into a film. We always take Jodhaa’s and Akbar's marriage for granted and say that Jahangir was born to them and then came Shah Jahan and so on. We always discuss the dynasty, the lineage, but never as to how they got married. I found that very fascinating.
For quite some time, I wanted to make a film in the love story genre and was looking for contemporary love stories that were around me at that point of time but wasn't finding the right kind of hook that interested me. But when the story of Jodhaa Akbar came about, I thought why not try and attempt it? While choosing a character from history, its relevance and the story you are telling around him becomes the key. My sole attraction in this story was how these two cultures and religions came together 450 years ago, and what must have happened. I based all my beliefs only on this and made the film.



The added attraction for me was that it was about Akbar. There are only two emperors in India who we call 'great' - Ashoka and Akbar. No one's born great, Babur started the Mughal dynasty, but we don't call him or even Shah Jahan, who made the Taj Mahal, great. Why is only Akbar termed great? What did he do? These questions attracted me to the topic, but I told Haidar that it was too vast and huge a subject to even put on paper and we need time. So while making Swades, we simultaneously worked on its screenplay and that's how the film came about.

Historical biopics cannot do without an element of fiction that's necessary for making for compelling celluloid telling. What have been your factual sources and what are the fictional liberties you have allowed yourself in telling this story? What is the fact-fiction ratio in Jodhaa Akbar?
I have based the entire story, its happenings and situations on the screenplay. Its pillars are facts like king Bharmal's daughter Jodhaa was married to the Mughal emperor Akbar, and then Jahangir was born. However, what happened in their chamber or between the two of them in their privacy, their evenings and their days is not written about anywhere. There' a gap there, though at the same time we have accounts of what kind of lifestyles the Rajputs and the Mughals had, which is generic. So I have used information which is generic and pieced together my story which we can say is 70 per cent imagination and 30 per cent history.
For facts I referred to Abul Fazl's Ain-i-Akbari and Akbarnama, Badayuni's Muntakhab al-Tawarikh and a whole lot of Rajput history and historians like Jadunath Sarkar's A History Of Jaipur and The Kachhawas Under Akbar apart from meeting professors like Irfan Habib sahab and Shireen Moosvi of the Aligarh Muslim University, who are topnotch historians on Akbar. I also met the Jaipur royalty and discussed the script with them before starting the film because Jodhaa was from that family. I attended their rituals and took inputs to grasp the nuances around the protocol and behaviour of the royalty, which is most important while tackling such a subject.

Unlike Hollywood, the historical biopic as a genre hasn't been quite popular in India in recent times. What are the impediments against tackling one?
It's not that we have not been making historicals. One of the main reasons why films set in a different time zone don't get made is that they are expensive. Also for the director and writers there is too much of work to be done before you can take a single shot. Your time input has to be at least two years. Either you don't have the time to do that or don't have the goss or the money. Yet, I think we have a historical coming in every three-four years, and lot of period films are getting made like Mangal Pandey, the films on Bhagat Singh, Bose and Savarkar and Akbar Khan's Taj Mahal.

Jodhaa Akbar looks contemporary in its treatment, but there are certain givens that come with a historical. How different is your take from the cult, classic historical on Akbar, Mughal-e-Azam? Did the question of comparisons ever bother you?
I find it difficult to evaluate or describe, because how contemporary a film can be is something that is born out of its maker's personality. I can't pinpoint how contemporary my Jodhaa Akbar will be, but even Lagaan in spite of being a period film, had a certain modernity to it, which is bound to happen because it's us. Mughal-e-Azam was made at in the 1960s, when literature in cinema was given a very high platform, when theatre was still evolving and very uplifting and if you were not from theatre, you would not get a break in movies. The gap between theatre and films then was much lesser. So the styles of acting and writing were just shifting from the stage to films which is why the film had a more literary, theatrical and grandiose kind of treatment. But the people making Jodhaa Akbar are of a different set and generation. We don't want to ape anybody and have approached our script with all its honesty; so when you see the Agra fort or go to Jodhaa's chamber, there's a particular size to it that is true to the original. We have not created anything larger than required, just because you want to be bigger for the sake of bigness. That's not the focus in this film, so we have tried to stay true to how much we could within the scope of our film.
As regards comparisons, our story looks at Akbar from the age of 13 to 28. So it's a youthful romance and its focus is far removed from Anarkali, Taj Mahal or any of these historicals. I didn't think much about any kind of comparison as it's neither a remake of any era nor do many know about this relationship. It stands on its own anyway.

What made you cast Hrithik Roshan and Aishwarya Rai in the lead? Were they your first choices?
Two names that immediately came to my mind on hearing the story were that of Hrithik and Aishwarya. At that point of time, it was just a wish-list, but I was fortunate that I landed up getting my wish-list to say yes to the film. I think I am fortunate to have two big stars, who have a face value that could make the project much more attractive, and hence got me little more money to spend, though the bottomline is the story you are telling.
Moreover, you can't make films of this nature, unless they are backed by actors, stars and technicians of a certain merit. It's not just about the money, but also about getting the right team - Nitin Desai (sets), Kiran Deohans (photography), Neeta Lulla (costumes) and each and every member of the crew. When they back you up, then everything starts falling into place. The costumes start looking beautiful, the sets looks grand, the photography is breathtaking.

How important was Hrithik or Aishwarya's resemblance to the original characters, or was star value the only criteria?
They were also my first choices because they are superb actors and their physical attributes lend themselves very well to the looks of a comic book emperor and a princess. My images of Akbar and Jodhaa are from the Amar Chitra Katha and like those portrayals - Hrithik is physically very strong and has princely looks, while Aishwarya is the quintessential princess.
As regards historical resemblance, my belief is that, it doesn't matter. Ben Kingsley is far removed from the Gandhi you see in all his photographs, nor does Brad Pitt match the mythical depictions of Achilles. The latest example are the three films on Bhagat Singh that released with Ajay Devgan, Bobby Deol and Sonu Sood, each playing the young martyr though the real Bhagat Singh neither looked nor was in the age group of the three actors. At certain times you need a face to a historical character that will do justice to the character and take it a little ahead by making it more palatable and believable.

Punam S Sinha seems to be one of the most unlikeliest debutants in your cast. How did you think of her and convince her to come on-screen after three decades? Which are the other significant characters to watch out for?
She has an extremely charming and regal personality and has a body language, which is very elegant. While casting, I was always telling that I need someone looking like Punam Sinha for the role of Akbar's mother, but I wasn't getting anyone. So I decided to ask her instead, and she was pleasantly surprised. But she said that I first take Shatruji's permission and thankfully both liked the role and said yes. As Hamida Banu, an empress from Turkey, she very easily makes an impact with very few words. Sonu Sood, who plays Jodhaa's cousin brother, Sujamal, has an interesting brother-sister track going between the two. He dotes on his sister and is supportive of her when there is objection to the marriage. Ila Arunji who's playing Maham Anga, Akbar's extremely possessive and protective wet nurse, is another significant character.

The film has an eclectic period track which has you team up for the third time with AR Rahman (music) and Javed Akhtar (lyrics). What was your brief for the film's music and any favourite song?
It's the first time that Rahman and Javed sahab have done a film set in the Mughal era, so we did have our discussions as to how to approach it. We essentially wanted to create sounds and melodies that would have a researched backdrop of that period, but would be contemporary in their treatment and overall appeal as we wanted the songs to depict that past and carry the scene forward, and yet appeal to today's generation by not getting archaic. Also the language we wanted to use was to just give a hint of Urdu and be very simple. Even in the script and dialogues, any word that I don't understand is not in the film and my Urdu is very limited. It doesn't interest me to impress anyone with how much Urdu I know because then it becomes a personal film. I want it to stay as lucid and simple to the layman as possible. All the songs are close to my heart, but the song that's most representative of the film is Kehno ke jashne-bahara because it has romance and is the leading song of the film.

Courtesy: ScreenIndia

Jodha Akbar sold

Finally there’s something for the fans to cheer about Jodha Akbar. This Ashutosh Gowarikar’s film which has gone through quite a few Herculean hurdles, right from the start, is finally set to hit the screens on the 15th of February. The Hrithik-Aishwarya starrer has been in the cans for quite some time as Gowarikar had a few issues which needed to be sorted out with the Animal Rights activists who claimed that he was bringing harm to animals.

When this was taken care of, there was a fresh confusion if Jodha was the wife of Akbar or Jehangir. All is well that ends well and Jodha is finally ready for release.

It’s been quite some time now, since the Anil Ambani owned Reliance group has been trying its hand in the entertainment sector as well and now reports claim that this Reliance group is keen to buy Jodha Akbar from UTV for a whopping 90 crores.. Though sources opine that the film has been overpriced, it does not seem to bother Reliance especially when big names like Hrithik Roshan, Aishwarya Rai and Ashutosh are involved in a project. Music by A.R. Rehman has struck the chords yet again for Gowarikar after Swades.


Courtesy: Behindwoods.com

Ash snubbed!

Aishwarya Rai Bhachchan is eagerly anticipating the release of her next movie, the much-awaited Jodha Akbar opposite her Dhoom 2 pair Hrithik Roshan. This epic film, directed by Ahutosh Gowariker and touted to be the most expensive Indian film ever made in the recent times, is in the final stages of postproduction.

The latest news on this film is that its length, in all probability, will be around three and a half hours. Considering the fact that Ashutosh’s earlier movies Lagan and Swades were about as lengthy, if not lengthier, this is not something new. It was very recently reported that the director had chopped off a Qawali number that was lavishly picturised on Aishwarya as it was hampering the pace of the movie. Ash was so much in love with the song and the visuals that she had asked the director’s permission to use it in her next movie. But sources now have it that her request was turned down by Ashutosh as he had only half-heartedly edited it out of the movie. However, he intends releasing it in the DVD of the movie. Actresses at times have to take these in their stride as films are ultimately a director’s medium and their word is final.
 
Courtesy:Behindwoods.com

Ashutosh ousts Rahman!

Ashutosh Gowariker, one of Bollywood’s hottest directors, shot to fame with his Oscar-nominated Lagaan in 2001. A.R. Rahman’s music contributed largely to the success of the film and both Ashutosh and A.R. Rahman have been working together ever since.

Their next project, Swades, though well received by critics did not find acceptance among the masses. But one aspect of the film that was appreciated by one and all was it’s music, with Rahman’s ‘Yeh Jo Des…’ going on to become one of his best compositions till date.

Ashutosh’s latest venture, Jodhaa Akbar, featuring Hrithik Roshan as the Mughal emperor Akbar and Aishwarya Rai Bachchan as his love interest Jodha, a Rajput princess, also has Rahman composing the music. This period film is now in its final stages of post-production and Ashutosh who is busy editing it has done the unexpected by axing two songs composed by Rahman, one of which is a Qawwali that was shot in a lavish set erected for the purpose. The director, however, justified it as the song hampered the flow of the film. Further, he explained that Rahman was a mature composer and would understand the reason behind it. We had also earlier reported Aishwarya liking the Qawwali so much that she has asked the director and Rahman for the footage and composition so she could use it in another film of hers.
 
Courtesy: Behindwoods.com 

Rahman to sing to Kailash Kher's tunes

Singer Kailash Kher, who is known as the blue-eyed boy of music director AR Rahman, is all set to rope him in for a project. Kher wants Rahman to perform the title track of the film Allah Ke Bande, which he has composed.

This will be the first time that Rahman will lend his voice to tunes composed by someone else. The film also marks the debut of the trio Kailash-Paresh-Naresh of the band Kailasa as composers.

“He has already heard the tune and the lyrics of the song and was impressed with it when we went to meet him last month. He asked us to complete the song. We will go to Chennai next week,” says an excited Kher.

Is Rahman going to sing the song finally?

“I hope so, because I share a special bonding with him. After hearing the tune he said Insha Allah and I know what these words mean when it comes from someone of the stature of Rahmansaab. I am like his brother and he has never turned me down,” says Kher.

The song has been written and composed by Kher and will be picturised on the band and Rahman, along with 1,000 children. “Rahmansaab has given me an informal assurance, as we share a relationship that is different from the one he has with others,” he says. The film directed by Faruque Kabir deals with juvenile crime and has Atul Kulkarni as the male lead.

After hearing the tune he said Insha Allah and I know what these words mean when it comes from someone of the stature of Rahmansaab-Kailash Kher
Kher who has sung for Rahman in films such as Swades, Mangal Pandey-The Rising and Kisna and is also a regular member of Rahman’s group, sees his dreams coming full circle.

“That’s why I have kept the title track for him. It’s a positive song, almost like a prayer to God but has the folk-rock flavour for which Kailasa is known,” he says.

However, this is not the only film that the composer trio has in its kitty. It is also scoring the music for Nikhil Advani’s Made In China, which has Akshay Kumar and Deepika Padukone in the lead. “It’s an inspirational song,” says Kher.

The trio will also start recording for Mahesh Bhatt’s assistant Hirdesh Kamble’s directorial debut, Pranali, which is based on devdasis. The choreography will be done by Birju Maharaj. “It’s an offbeat subject,” he says.

As of now, after the success of their last private album Kailasa Jhoomo Re, the band plans to focus on films. Kher will be heard singing in movies such as Crazy 4, Sarkar Raj, Mittal vs Mittal and a couple of untitled projects that will release next year.

Courtesy: Hindustantimes.com

A.R.Rahman’s next

After finishing his second Tamil movie in a row – for the less informed, they are Sivaji and the recently released ATM – Rahman is now busy finishing off Ashutosh Gowaikar directed epic tale Jodhaa Akbar starring Hrithik Roshan and Aishwarya Rai in the lead. The results of Ashutosh’s previous outings with Rahman for Lagaan and Swades need no elucidation.


Produced by UTV pictures, Jodhaa Akbar’s music rights were earlier sold to BIG Music. However, quoting lack of time for the promotion of the music and blaming producers UTV for the same, BIG Music recently withdrew from their contract. Music of Jodhaa Akbar will now be promoted by UTV, who for this sole purpose is launching a music label on their own. Higher officials at UTV swear that there is no better launchpad for their music label than releasing Rahman’s music.

Rahman’s music for Jodhaa Akbar has already raised the bar among critics and music lovers alike with its trailer, which had some great music by the maestro. Sources close to Rahman say that the music is very contemporary and one of his best.

Courtesy: Behindwoods.com 

9X's Mission Ustaad theme changes to Khwaaish

After last week's performance where husband-wife duo Roop Kumar Rathod and Sunali Rathod won the Ustaad Jodi title for the week, 9X's Mission Ustaad is all set to enter the next week with a new theme.
On 14-15 December at 9 pm on 9X, the theme is Khwaaish, which symbolizes the desire to reduce disparity. Starting the episode in the patriotic spirit, feature writer and poet extraordinaire Javed Akhtar will recite a poem which he recited on the occasion of India's 60 th year of Independence.


Kick starting the Friday episode will be winner of last week- Roop Kumar and Sunali, who will belt Ruk Jaana Nahin Tu from the movie Imtehaan, followed by the next jodi comprising of Kailash Kher and Mahalaxmi Iyer who will lend their voices to sing Tere Mere Sapne. Naresh Iyer and Shweta Pandit , who make up the third jodi, will together croon Dil Chahata Hai and the fourth Jodi comprising of Vasundhara Das and Mohit Chauhan of Silk Route fame will end the evening with Adnan Sami's hit number Lift Karade.

Also, the viewers will see the jodis perform on popular. The youngest singer duo - Naresh Iyer and Shweta Pandit will kick start with Lagaan's Mitwa, followed by Vasundhara Das and Mohit Chauhan's Do Deewane Sheher Mein. Kailash Kher and Mahalaxmi Iyer will sing Yuhi Chala Chal Rahi from Swadesh while Roop and Sunali will sing the track Aa Bhi Ja from the movie Sur.

The four jodis will be judged by A R Rahman, Javed Akhtar and Lara Dutta to vie for the 'Ustaad Jodi' title.

Courtesy: Businessofcinema.com

A.R. Rahman for Himmesh and Adnan

Only a few days back it was reported that Kailash asked the ‘Mozart of Madras,’ A.R. Rahman to croon for him. Although nothing was confirmed from Rahman on this, sources say that two other composers are also in the fray trying to rope him in to sing for them. It is not uncommon for composers to sing for others.
A R Rahman
In fact, in Kollywood, veteran composers like M.S. Viswanathan and Shankar (Shankar-Ganesh) have sung for other composers.

Of late, such trends haven’t been witnessed in the film industry. The reasons attributed, by the insiders, include ego clashes that might arise and erosion of fan base.

But composers themselves have never opined on those lines. News is that ‘Isai Gnani’ Ilayaraja had recently offered to sing for other composers. Rahman is now becoming hot property as a singer in Bollywood after his hit numbers in Guru, Swades and Dil Se. Himmesh Reshammiya, a self-confessed fan of Rahman, had announced that if ever wanted to sing for another composer it would be only be for Rahman. This composer/singer, known for his nasal twang, has asked Rahman to sing for him and close on his heels is Adnan Sami who has also made a similar request. Rahman when questioned on this said, “It’s extremely kind of them to think of me, but I can’t just sing like that. When I render a track, I cut myself off from other things. Even for a concert, a couple of days before it I don’t pursue my other music stuff, but just concentrate on the singing.” He also added that he hadn’t turned down their request but as he is working on an album, he can consider these offers only after completing it. Is he trying to be politically correct or is he just politely turning down these offers?

Courtesy: Behindwoods.com