A leading national daily and also a few portals have gone to town proclaiming that Aamir Khan's action bonanza, GHAJINI remake, has fetched Rs. 90 crores! That is far from the truth and we bring you the exact breakdown, as always.
The Indian Film Company, which also distributed WELCOME, has acquired the all-India rights of GHAJINI remake for Rs. 53 crore (including cost of print and publicity). The audio and home video rights have been sold to T-Series for Rs. 8.5 crore.
Similarly, the deal for Overseas had been struck with Adlabs for a reported price of Rs. 10 crore. That means, the all-world rights (excluding satellite rights) of GHAJINI remake have fetched Rs. 71.51 crore (and not Rs. 90 crore) for its producer, Alu Arvind.
The deal for satellite right has not been struck as yet, although at least five to six parties are in queue to acquire the same. If the satellite market remains as buoyant as it is presently, Rs. 15 crore to Rs. 20 crore is very much on the cards!
Courtesy: Glamsham.com
Thursday, February 21, 2008
Allu strikes gold!
Allu Aravind’s unreleased Hindi film with Amir Khan in the lead sets a new record in the Bollywood business books. It was well known to the film buffs that Hindi version of Ghajini is being made with Amir in Hindi. This film reportedly earned an estimated sum of Rs. 93 crore by selling its distribution rights. Shah Rukh Khan’s Om Shanti Om was the top grosser in distribution rights until now which made Rs. 73 crore pre release.
Now Amir, Allu Aravind’s Hindi Ghajini surpassed it by a huge margin of Rs. 20 crore. The film is surrounded by high expectations and the craze is evident with this record.
Allu Aravind who has tasted bitter results for over a period of time with his Telugu films strikes gold with this film as he made almost Rs. 50 crore profits much before the release. His Telugu film Jalsa with Pawan Kalyan is also carrying positive reports and a hit for Allu Aravind in Tollywood is round the corner.
Courtesy: andhracafe.com
Now Amir, Allu Aravind’s Hindi Ghajini surpassed it by a huge margin of Rs. 20 crore. The film is surrounded by high expectations and the craze is evident with this record.
Allu Aravind who has tasted bitter results for over a period of time with his Telugu films strikes gold with this film as he made almost Rs. 50 crore profits much before the release. His Telugu film Jalsa with Pawan Kalyan is also carrying positive reports and a hit for Allu Aravind in Tollywood is round the corner.
Courtesy: andhracafe.com
Aamir Khan´s ´Ghajini´ (Remake) May Release on October 3
The next release from actor perfectionist and now director par excellante, Aamir Khan, the action bonanza of the 'Ghajini' remake, is a keenly awaited project. Though different release dates are being forecasted, here is the exact situation, as of now. As per reliable trade sources, 'Ghajini' would be ready for release in the first week of October, later this year. Although Friday falls on 3rd October, the producers may go in for an advance release, as 'Eid' is likely to fall on October 1. Also, there is the additional Gandhi Jayanti holiday on October 2.
As always, release dates can change, even at the eleventh hour!
Courtesy: planetbollywood.com
As always, release dates can change, even at the eleventh hour!
Courtesy: planetbollywood.com
Aamir Khan’s Ghajini overtakes Om Shanti Om
Much before Aamir Khan’s Ghajini hits the theatres, it's creating waves. Perfectionist Aamir Khan does everything in style and always we find some sort of uniqueness in his storyline. His upcoming venture Ghajini overtakes Shahrukh’s already released film Om Shanti Om. While Om Shanti Om rights were sold at Rs 73 crore, the rights of Ghajini have been sold at whopping price more than 93 crore.
A source from the film fraternity remarked that “No other Bollywood film was sold with such a huge price in domestic theatres”. The film distribution rights of Rs 53 crore and music distribution of Rs 40 crore had sum up the circulation price to Rs 93 crore. Aamir always tries to make a critically acclaimed film with full perfection. Whether it is Lagaan or Taare Zameen Pe, his work is always considered to be a masterpiece.
Ghajini is a remake of a Tamil version. For many days, he has been looking for the right lady. Various names had been suggested but ultimately he settled down with Jiah Khan and Tamil actress Asin. It is the most awaited film of 2008 and its music is still not out of the cocoon. We can say that Ghajini will be another eye-catching and mind blowing offering from the intense and dynamic actor, Aamir Khan.
Courtesy: Bollywoodmantra.com
A source from the film fraternity remarked that “No other Bollywood film was sold with such a huge price in domestic theatres”. The film distribution rights of Rs 53 crore and music distribution of Rs 40 crore had sum up the circulation price to Rs 93 crore. Aamir always tries to make a critically acclaimed film with full perfection. Whether it is Lagaan or Taare Zameen Pe, his work is always considered to be a masterpiece.
Ghajini is a remake of a Tamil version. For many days, he has been looking for the right lady. Various names had been suggested but ultimately he settled down with Jiah Khan and Tamil actress Asin. It is the most awaited film of 2008 and its music is still not out of the cocoon. We can say that Ghajini will be another eye-catching and mind blowing offering from the intense and dynamic actor, Aamir Khan.
Courtesy: Bollywoodmantra.com
Hrithik Roshan's dervish dance wins hearts
The response to Jodhaa Akbar from critics may be mixed. But there is one extraordinary sequence in the film that has won the hearts of critics and audiences alike.
That sequence is when emperor Akbar ( Hrithik Roshan ) goes into a trance while listening to the qawwali “Khwaja Mere Khwaja”. Quietly, the emperor rises from his seat, walks into the whirling dervishes and begins to whirl with one hand pointed to the sky and the other pointed to the earth.
Now, we all know how good a dancer Hrithik is. But before shooting this sequence, even he was clueless. Though the whirling doesn’t require any complicated steps, Hrithik had to do it with genuine feeling so as not to make the dance look superficial.
And the conviction with which Hrithik conveyed the spiritual ecstasy of Akbar in that dance has won hearts.
None other than superstar Amitabh Bachchan had lavish praise for this particular sequence in the film.
In fact, Big B has reportedly stated that such an outstanding moment has not been captured in cinema since Stanley Kubrick’s film ‘A Space Odyssey’.
And almost every movie critic has complimented this very sequence.
For the song’s composer, A R Rahman , “Khwaja Mere Khwaja” is a very personal and spiritual number. Rahman originally composed the song three years ago only for himself. It was much later when Ashutosh Gowarikar approached him to compose for ‘Jodhaa Akbar’ did Rahman decide to use the song in the film.
Courtesy: Apunkachoice.com
That sequence is when emperor Akbar ( Hrithik Roshan ) goes into a trance while listening to the qawwali “Khwaja Mere Khwaja”. Quietly, the emperor rises from his seat, walks into the whirling dervishes and begins to whirl with one hand pointed to the sky and the other pointed to the earth.
Now, we all know how good a dancer Hrithik is. But before shooting this sequence, even he was clueless. Though the whirling doesn’t require any complicated steps, Hrithik had to do it with genuine feeling so as not to make the dance look superficial.
And the conviction with which Hrithik conveyed the spiritual ecstasy of Akbar in that dance has won hearts.
None other than superstar Amitabh Bachchan had lavish praise for this particular sequence in the film.
In fact, Big B has reportedly stated that such an outstanding moment has not been captured in cinema since Stanley Kubrick’s film ‘A Space Odyssey’.
And almost every movie critic has complimented this very sequence.
For the song’s composer, A R Rahman , “Khwaja Mere Khwaja” is a very personal and spiritual number. Rahman originally composed the song three years ago only for himself. It was much later when Ashutosh Gowarikar approached him to compose for ‘Jodhaa Akbar’ did Rahman decide to use the song in the film.
Courtesy: Apunkachoice.com
The most spectacular aspect about JODHAA AKBAR!
As expected, it is the track 'Azeem O Shaan Shahenshah' which has turned out to be visually most spectacular part about JODHAA AKBAR.
Ever since this A.R. Rahman track was heard first as a part of the film's theatrical promo, the bet was on that it would make for a breathtaking experience once seen on the big screen. The scale and magnitude of the number was such that it had to be complimented by lavish picturisation, grand choreography and great visuals.
As expected, Ashutosh Gowariker has made it happen with his technical crew as the number in appreciation of Jalaluddin Akbar, 'Azeem O Shaan Shahenshah', has turned out to be a grand outing. Going completely in synch with the elaborate mood of the film and the high-on-drama sequence where Akbar gets the acceptance from the people of his country for perhaps the first time ever, 'Azeem O Shaan Shahenshah' would easily be counted as one of the most impressive things about this Hrithik-Ash film.
Courtesy: Glamsham.com
Ever since this A.R. Rahman track was heard first as a part of the film's theatrical promo, the bet was on that it would make for a breathtaking experience once seen on the big screen. The scale and magnitude of the number was such that it had to be complimented by lavish picturisation, grand choreography and great visuals.
As expected, Ashutosh Gowariker has made it happen with his technical crew as the number in appreciation of Jalaluddin Akbar, 'Azeem O Shaan Shahenshah', has turned out to be a grand outing. Going completely in synch with the elaborate mood of the film and the high-on-drama sequence where Akbar gets the acceptance from the people of his country for perhaps the first time ever, 'Azeem O Shaan Shahenshah' would easily be counted as one of the most impressive things about this Hrithik-Ash film.
Courtesy: Glamsham.com
"Yes, I'm doing Raju Hirani's Idiots" - Aamir Khan
"Yes I am doing Raju Hirani's film being produced by Vinod Chopra tentatively titled Idiots," writes Aamir Khan in the latest entry on his blog aamirkhan.com thus confirming the speculation about the fate of Hirani's film. Aamir had acknowledged before the release of Taare Zameen Par that he is considering Hirani and Vinod Chopra's offer provided he likes the final script. His latest post confirms reclusive superstar's plans post Ghajini Remake this year.
Aamir begins his latest post by spilling the shooting plans, "Ghajini resumes, shooting today on the roads of Bombay." Reportedly, this action thriller has earned the unique distinction of being sold for a whopping Rs 90 crore. Confirming the same, Sandeep Bhargava, Head of The Indian Film Company said, "Ghajini has been the highest grossing Tamil hit. I believe that the remake of Ghajini will be one of the biggest films of this year. It stars Aamir Khan, so it's a special film. We have acquired it at a value that includes marketing and print expenses. We are working out a distribution strategy for the movie."
Talking about the famed resolutions to his fans, Aamir further writes, "I have managed to stick to no smoking, my workouts have begun again, diet is also getting back slowly though sometimes I break it, and sleeping is still not totally in place though that has seen an improvement too." Khan has been following a strict exercise regimen of three and a half hours and above for six days a week as he wants to get into super shape for the latter half of Ghajini as he shall be bare bodied for most parts. In fact he told his physical trainer Satyajit that he would make such a fantastic body that people will flock the theatres just to see his fine toned physique.
In an exclusive interview with Bollywood Hungama last week Satyajit said, "Whenever you'll see him in the film, you'll say, wow that's Aamir Khan. For last one year he is working really hard He weighed 84 kgs but now he has lost around 16 kgs. I can't say much but he is looking superb." The perfectionist Khan has built a gym combining two garages within his society and it has cost him an eye-popping Rs 55 lakhs. He did pose for a magazine last month while exercising but he was wearing a full sleeves shirt for he doesn't wish to give away his toned look yet. Hmmmm….talk about being secretive!
It seems he has left the grand success of TZP behind and is looking forward to the road ahead. Yet there's some work left on his directorial debut. "As for DVD release of TZP… work on that is progressing but a little slow. Be assured that I am working very hard to come out with the best quality and some really special extras," Aamir writes. Well, knowing the man who stands true to most of what he says TZP DVD will be something to look forward to. As of now, how about try-n-get-the-info on where Aamir is shooting for Ghajini and letting us know pronto!
Courtesy: Indiafm.com
Aamir begins his latest post by spilling the shooting plans, "Ghajini resumes, shooting today on the roads of Bombay." Reportedly, this action thriller has earned the unique distinction of being sold for a whopping Rs 90 crore. Confirming the same, Sandeep Bhargava, Head of The Indian Film Company said, "Ghajini has been the highest grossing Tamil hit. I believe that the remake of Ghajini will be one of the biggest films of this year. It stars Aamir Khan, so it's a special film. We have acquired it at a value that includes marketing and print expenses. We are working out a distribution strategy for the movie."
Talking about the famed resolutions to his fans, Aamir further writes, "I have managed to stick to no smoking, my workouts have begun again, diet is also getting back slowly though sometimes I break it, and sleeping is still not totally in place though that has seen an improvement too." Khan has been following a strict exercise regimen of three and a half hours and above for six days a week as he wants to get into super shape for the latter half of Ghajini as he shall be bare bodied for most parts. In fact he told his physical trainer Satyajit that he would make such a fantastic body that people will flock the theatres just to see his fine toned physique.
In an exclusive interview with Bollywood Hungama last week Satyajit said, "Whenever you'll see him in the film, you'll say, wow that's Aamir Khan. For last one year he is working really hard He weighed 84 kgs but now he has lost around 16 kgs. I can't say much but he is looking superb." The perfectionist Khan has built a gym combining two garages within his society and it has cost him an eye-popping Rs 55 lakhs. He did pose for a magazine last month while exercising but he was wearing a full sleeves shirt for he doesn't wish to give away his toned look yet. Hmmmm….talk about being secretive!
It seems he has left the grand success of TZP behind and is looking forward to the road ahead. Yet there's some work left on his directorial debut. "As for DVD release of TZP… work on that is progressing but a little slow. Be assured that I am working very hard to come out with the best quality and some really special extras," Aamir writes. Well, knowing the man who stands true to most of what he says TZP DVD will be something to look forward to. As of now, how about try-n-get-the-info on where Aamir is shooting for Ghajini and letting us know pronto!
Courtesy: Indiafm.com
Aamir's Ghajini is already Hit
The Hindi remake of the biggest Tamil grosser, Ghajini is again in the spot light, as T-Series has bagged the music rights to this film.
After the stupendous success of Taare Zameen Par, T-Series, the $90 million business company is back in business yet again.
The yet to be titled film will see Aamir Khan in the lead role along with Asin Thottumkal and Jiah Khan.
A complete action-packed thriller, this film will bring back the days of Ghulam for Aamir Khan. Quoted to be the biggest project of this year, the film will hit the screens this October.
Courtesy: Santabanta.com
After the stupendous success of Taare Zameen Par, T-Series, the $90 million business company is back in business yet again.
The yet to be titled film will see Aamir Khan in the lead role along with Asin Thottumkal and Jiah Khan.
A complete action-packed thriller, this film will bring back the days of Ghulam for Aamir Khan. Quoted to be the biggest project of this year, the film will hit the screens this October.
Courtesy: Santabanta.com
Mani's next - story revealed!
Mani Ratnam’s newest film project returns to a territory he is master of: a simple, deep love story beautifully and impeccably told in the way only this maestro can. Think Alaipaiyuthey, except the couple is now negotiating married life amidst the frantic pace of modern life. Will the story also perhaps deal with how contemporary couples balance careers with marriage and family? There is something doubly interesting about this project – the stars that will play this couple are Abishek and Ash. The glittering echo between the fictional and the real couple is obvious, adding to the buzz.
It’s nice to have Mani Ratnam come back from larger than life stories like Guru to doing something more intimate, feel-good, lyrical and romantic. And where there’s Mani there’s always that other maestro, A.R.Rahman. Taking a cue from the story and theme of this yet untitled movie, the model for Rahman’s songs could well be Alaipaiyuthey. Richly lyrical romantic ballads, intoxicatingly choreographed and shot. Which brings us to the cinematographer – rumour has it that Mani is most likely going to bring his veteran cameraman in - P.C. Sriram. If you recall, P.C. and Mani together revolutionized the use of lighting and camera work in Tamil cinema once. Rumour also has it that the Big B will make a cameo. But let’s wait and see what develops – with this publicity shy director
nothing is confirmed until he confirms it.
Courtesy: Behindwoods.com
It’s nice to have Mani Ratnam come back from larger than life stories like Guru to doing something more intimate, feel-good, lyrical and romantic. And where there’s Mani there’s always that other maestro, A.R.Rahman. Taking a cue from the story and theme of this yet untitled movie, the model for Rahman’s songs could well be Alaipaiyuthey. Richly lyrical romantic ballads, intoxicatingly choreographed and shot. Which brings us to the cinematographer – rumour has it that Mani is most likely going to bring his veteran cameraman in - P.C. Sriram. If you recall, P.C. and Mani together revolutionized the use of lighting and camera work in Tamil cinema once. Rumour also has it that the Big B will make a cameo. But let’s wait and see what develops – with this publicity shy director
nothing is confirmed until he confirms it.
Courtesy: Behindwoods.com
A Jodha-Akbar museum!
A thing of beauty is a joy forever. Painstakingly crafted with a keen eye for detail, the sets of Jodha Akbar lent the much needed feeling of grandeur to the movie set around the prosperous Mughal and Rajputana empires. Now, that the movie has been released the sets that were built for the purpose can be dismantled. But the makers of Jodha Akbar seem to have something else in mind. After all it is not easy for anyone with a creative slant of mind to ruthlessly pull down a piece of art, that too one that has generated such a positive buzz wherever it has been shown on the big screen.
Yes, the magnificent sets of Jodha Akbar will not be pulled down, they will remain a testimony to the effort and time that went into their making. They will rightfully be opened up for the public get a first hand experience of how it looks. After all a 2 dimensional view on the big screen, however well shot cannot match the 3 dimensional experience of real life. The plans will be rolled out soon. Of course, the public will have to pay a nominal fee, but the perfection of the sets justifies that. The man behind the idea is the man who made the sets himself, Nithin Chandrakanth Desai of ND studios.
Hats off to him for turning the wheel of time to take us back to the times of Akbar and lets hope that this adds to the rich tourist attractions of our country.
Courtesy: Behindwoods.com
Yes, the magnificent sets of Jodha Akbar will not be pulled down, they will remain a testimony to the effort and time that went into their making. They will rightfully be opened up for the public get a first hand experience of how it looks. After all a 2 dimensional view on the big screen, however well shot cannot match the 3 dimensional experience of real life. The plans will be rolled out soon. Of course, the public will have to pay a nominal fee, but the perfection of the sets justifies that. The man behind the idea is the man who made the sets himself, Nithin Chandrakanth Desai of ND studios.
Hats off to him for turning the wheel of time to take us back to the times of Akbar and lets hope that this adds to the rich tourist attractions of our country.
Courtesy: Behindwoods.com
"I am not in Robot"
Robot, the prestigious venture of director Shankar after Sivaji seems to be the cynosure of the media ever since its announcement. The coming together of stalwarts of the industry like super star, Shankar and A R Rahman has increased the excitement and frenzy multifold. There were many rumors associated with the presence of Aishwarya Rai in this project which was put to rest some time back.
Now, news started leaking that action king Arjun will be doing the role of a villain in Robot. Arjun is currently shooting in Mumbai and when he was questioned on this, he said, "I have not been approached by anyone till date for Robot. This is only a rumor and I am totally clueless about the origin of this news. I am now busy with Aruvadai and Durai and I am discussing a few more scripts."
Courtesy: Behindwoods.com
Now, news started leaking that action king Arjun will be doing the role of a villain in Robot. Arjun is currently shooting in Mumbai and when he was questioned on this, he said, "I have not been approached by anyone till date for Robot. This is only a rumor and I am totally clueless about the origin of this news. I am now busy with Aruvadai and Durai and I am discussing a few more scripts."
Courtesy: Behindwoods.com
Wednesday, February 20, 2008
Shruti Hassan in Sultan?
Sultan the warrior, the animated film being directed by Soundarya Rajnikanth and produced by Ochre studios in association with Adlabs is shaping up at a fast pace. The film has many firsts to its credit. Rajnikanth is the first Indian star to have been animated. Music is being scored by A R Rahman and two songs have been penned by Kavi
Perarasu Vairamuthu, out of which one will be the opening number and the other one is a duet. Recording of the songs have been done under tight wraps. It has also been alleged that these two tracks have been recorded very innovatively where creativity will be at its best and unique. Whispers floating in the industry also suggest that Shruti Hassan has sung a song in Sultan. Insiders reveal that the film is sure to be liked by kids as well as adults.
Courtesy: Behindwoods.com
Perarasu Vairamuthu, out of which one will be the opening number and the other one is a duet. Recording of the songs have been done under tight wraps. It has also been alleged that these two tracks have been recorded very innovatively where creativity will be at its best and unique. Whispers floating in the industry also suggest that Shruti Hassan has sung a song in Sultan. Insiders reveal that the film is sure to be liked by kids as well as adults.
Courtesy: Behindwoods.com
Shahrukh challenging Rajinikanth?
For some time now, Shahrukh Khan has been thinking of coming up with a grand scale special effects movie. Enter Shankar: who approaches him for Robot, his sci-fi epic. But after a few creative differences, the duo part.
Shankar moves on, making his big project even bigger by roping in Rajinikanth and Aishwarya Rai, with the largest budget Indian cinema has conceived of so far.
Now, Shahrukh responds by announcing that his Red Chillies banner plans to make the most expensive film in India with a budget of $25 million. Was SRK provoked/inspired by Shankar’s grand ambition?
While at the Berlin Film Festival, Shahrukh recently spoke to the legendary Hollywood trade magazine, Variety: "We are dedicating the next eight or nine months to taking the best technicians from around the world and asking them to help us make the best VFX film India has ever made. It will be madcap, over the top. I want it to be as beautiful as 'Spider-Man' in terms of effects,"
The film is yet to be titled but we roughly know the plot: what happens when a bunch of children have all their wishes come true. Are wishes that come true always a good thing, or actually a nightmare disguised as a dream? The director of movies like Cash and Dus – Anubhav Sinha – will helm this mega project. What will excite VFX buffs is that Charles Darby, the man responsible for some of the special effects in Minority Report and The Matrix has been roped in. Apparently he has set up a VFX studio in Mumbai.
It will indeed be interesting to see what Shankar’s response will be. An even more grandly scaled movie than what SRK has in mind? After all, isn’t Shankar one of India’s initial special effects movie wizards?
Such healthy professional rivalry will only help in the betterment of Indian cinema.
Courtesy: Behindwoods.com
Shankar moves on, making his big project even bigger by roping in Rajinikanth and Aishwarya Rai, with the largest budget Indian cinema has conceived of so far.
Now, Shahrukh responds by announcing that his Red Chillies banner plans to make the most expensive film in India with a budget of $25 million. Was SRK provoked/inspired by Shankar’s grand ambition?
While at the Berlin Film Festival, Shahrukh recently spoke to the legendary Hollywood trade magazine, Variety: "We are dedicating the next eight or nine months to taking the best technicians from around the world and asking them to help us make the best VFX film India has ever made. It will be madcap, over the top. I want it to be as beautiful as 'Spider-Man' in terms of effects,"
The film is yet to be titled but we roughly know the plot: what happens when a bunch of children have all their wishes come true. Are wishes that come true always a good thing, or actually a nightmare disguised as a dream? The director of movies like Cash and Dus – Anubhav Sinha – will helm this mega project. What will excite VFX buffs is that Charles Darby, the man responsible for some of the special effects in Minority Report and The Matrix has been roped in. Apparently he has set up a VFX studio in Mumbai.
It will indeed be interesting to see what Shankar’s response will be. An even more grandly scaled movie than what SRK has in mind? After all, isn’t Shankar one of India’s initial special effects movie wizards?
Such healthy professional rivalry will only help in the betterment of Indian cinema.
Courtesy: Behindwoods.com
A.R.Murugadoss & Aamir Khan break Indian record
A.R.Murugadoss and Aamir Khan have managed to pull off a national level record for the highest distribution rights paid for a single movie yet! Yes, you heard it right: their Hindi Ghajini has garnered a whooping 90 crores in distribution price for its producers Madhu Verma and Allu Arivind.
The Indian Film Company (IFC) has paid 53 crores to the producers of the movie for the domestic distribution rights. IFC had earlier distributed Jab We Met and Welcome, both of which have been profitable ventures. Overseas, satellite, online and home video rights collected another 40 crores.
This is quite a remarkable achievement considering the fact that not a single official still has been released about the movie yet.
The movie is obviously heavy weight with Aamir fresh off his Taare Zameen Par success, A.R.Rahman as the music director (the inside story is that the director has composed some mind blowing music for the movie), Ravi K Chandran in charge of camera, and Murugadoss, one of the most commercially successful directors of the south at the helm. Asin plays the lead lady of Aamir, supported by Jiah Khan
Ghajini has managed to break the record set by Om Shanthi Om, which had collected 73 crores for its distribution rights.
Now for the really interesting side of all this: Aamir is not just looking to take away Shahrukh's record on the finance-side, but also on the physical side. He is gearing up to flaunt a six pack ala Shahrukh Khan. The actor is on a strict exercise regimen, building up muscles and pumping some iron.
Call it professional rivalry at its peak!
Courtesy: Behindwoods.com
The Indian Film Company (IFC) has paid 53 crores to the producers of the movie for the domestic distribution rights. IFC had earlier distributed Jab We Met and Welcome, both of which have been profitable ventures. Overseas, satellite, online and home video rights collected another 40 crores.
This is quite a remarkable achievement considering the fact that not a single official still has been released about the movie yet.
The movie is obviously heavy weight with Aamir fresh off his Taare Zameen Par success, A.R.Rahman as the music director (the inside story is that the director has composed some mind blowing music for the movie), Ravi K Chandran in charge of camera, and Murugadoss, one of the most commercially successful directors of the south at the helm. Asin plays the lead lady of Aamir, supported by Jiah Khan
Ghajini has managed to break the record set by Om Shanthi Om, which had collected 73 crores for its distribution rights.
Now for the really interesting side of all this: Aamir is not just looking to take away Shahrukh's record on the finance-side, but also on the physical side. He is gearing up to flaunt a six pack ala Shahrukh Khan. The actor is on a strict exercise regimen, building up muscles and pumping some iron.
Call it professional rivalry at its peak!
Courtesy: Behindwoods.com
Tuesday, February 19, 2008
'Each song in Jodhaa Akbar has its own potential'
The last song to appear in Jodhaa Akbar, Inn Lamhon Ke Daaman Mein, is one of the most haunting songs composed by A R Rahman.
But like many of his fabled compositions, this one will also take time to make a lasting impact. The song is used mostly in the background, as Jodhaa and Akbar make love for the first time.
The number is sung by Sonu Nigam, and Madhushree who, in recent years, has emerged as one of Rahman's favourites.
The composer says the song challenged him considerably.
"It comes in the climax of the film," he says. "It was very important to have the song right. If it is too slow, it will bring the whole energy down. If it is too fast, it won't do justice to the situation. The end of the film shows Jodhaa finally loving Akbar for the first time since their wedding."
He had to play 'a kind of dynamic composition where it starts on a soothing note, and then goes to the big chorus,' he says.
"It has a full journey in it," he adds. "I think it is very good."
Many cannot understand how a big historical film like Jodhaa Akbar has only five songs. Old classics like Mughal-E-Azam and Pakeezah have quite a few songs in them.
"Numbers don't count," Rahman answers bluntly. "Roja, Dil Se, Bombay and Guru each had five songs. The real songs in that film were five; others were used in the background.
"Each song in Jodhaa Akbar has its own potential," he continues. "So we kept them simple. We did not want to overload things."
The music of Jodhaa Akbar is not confined to songs alone, he asserts.
"Once the film is released, they (UTV, the film's producer) may release the soundtrack, with the theme of the film and other compositions," he says.
"I take composing the background music for a film to be a very serious business," he continues. "There are a lot of people, who do just five songs and leave it for someone else to compose the background. You need 20 times the energy (of composing songs) to produce the background score. You need three to four months."
The time he took to compose the background score for Jodhaa Akbar, he adds, he could have used to compose songs for five to six films.
"It (the background score) is a commitment to the movie," he continues. "It is all about artistic honesty. It also helps you grow musically. In this film, I loved doing the background music because of the depth of the subject and interesting situations."
But on many occasions, when a filmmaker tells him the film's story, he knows in his heart, that he should not take up the film.
"When I am doing a song," he says, "the director has to live with the song and when I am doing a film's background music, I have to watch the film and have to live with the film all my life."
That is why he rejects many films, he adds.
Working for the third time with Gowariker reinforced Rahman's admiration for the filmmaker.
"Very few people recognise the kind of warmth in music, the pulse, the soul of the music," Rahman says. "He is one of them. Mani Ratnam and Subhash Ghai also are like him. Ashutosh has the talent for spotting fine music. There are so many ideas that he has to consider while working on a film. But to pick the right things and give them to the people, to present them in a very dignified way, is very important to him.
"There is no use in us in composing beautiful stuff and then getting it thrown away, without any respect to the music," Rahman continues. "It is very important for a director to sit and like something, and challenge the composer from time to time. Ashutosh does it."
Courtesy: Rediff.com
But like many of his fabled compositions, this one will also take time to make a lasting impact. The song is used mostly in the background, as Jodhaa and Akbar make love for the first time.
The number is sung by Sonu Nigam, and Madhushree who, in recent years, has emerged as one of Rahman's favourites.
The composer says the song challenged him considerably.
"It comes in the climax of the film," he says. "It was very important to have the song right. If it is too slow, it will bring the whole energy down. If it is too fast, it won't do justice to the situation. The end of the film shows Jodhaa finally loving Akbar for the first time since their wedding."
He had to play 'a kind of dynamic composition where it starts on a soothing note, and then goes to the big chorus,' he says.
"It has a full journey in it," he adds. "I think it is very good."
Many cannot understand how a big historical film like Jodhaa Akbar has only five songs. Old classics like Mughal-E-Azam and Pakeezah have quite a few songs in them.
"Numbers don't count," Rahman answers bluntly. "Roja, Dil Se, Bombay and Guru each had five songs. The real songs in that film were five; others were used in the background.
"Each song in Jodhaa Akbar has its own potential," he continues. "So we kept them simple. We did not want to overload things."
The music of Jodhaa Akbar is not confined to songs alone, he asserts.
"Once the film is released, they (UTV, the film's producer) may release the soundtrack, with the theme of the film and other compositions," he says.
"I take composing the background music for a film to be a very serious business," he continues. "There are a lot of people, who do just five songs and leave it for someone else to compose the background. You need 20 times the energy (of composing songs) to produce the background score. You need three to four months."
The time he took to compose the background score for Jodhaa Akbar, he adds, he could have used to compose songs for five to six films.
"It (the background score) is a commitment to the movie," he continues. "It is all about artistic honesty. It also helps you grow musically. In this film, I loved doing the background music because of the depth of the subject and interesting situations."
But on many occasions, when a filmmaker tells him the film's story, he knows in his heart, that he should not take up the film.
"When I am doing a song," he says, "the director has to live with the song and when I am doing a film's background music, I have to watch the film and have to live with the film all my life."
That is why he rejects many films, he adds.
Working for the third time with Gowariker reinforced Rahman's admiration for the filmmaker.
"Very few people recognise the kind of warmth in music, the pulse, the soul of the music," Rahman says. "He is one of them. Mani Ratnam and Subhash Ghai also are like him. Ashutosh has the talent for spotting fine music. There are so many ideas that he has to consider while working on a film. But to pick the right things and give them to the people, to present them in a very dignified way, is very important to him.
"There is no use in us in composing beautiful stuff and then getting it thrown away, without any respect to the music," Rahman continues. "It is very important for a director to sit and like something, and challenge the composer from time to time. Ashutosh does it."
Courtesy: Rediff.com
How Rahman made Jodhaa Akbar's grandest song
One of the highlights of Jodhaa Akbar is the song, Azeem Shaan Shahenshah, which has spirited choreography and grand visuals.
The number follows Akbar's success in consolidating his hold on the empire. It is sung by Mohammad Aslam, who has performed for many A R Rahman tracks in Tamil and Hindi. Joining him is Bony Chakravarti.
The song is unlike any other Rahman composition but the maestro admits that he has used a similar number and orchestration in a Tamil film.
"But the song in Jodhaa Akbar is far better," Rahman says. "And it is used very well in an important part of the film."
The song sounds like it has voiced by a dozen voices and a raft of musical instruments.
"There was a lot of percussion, drums and voices mainly and chorus here and there," Rahman explains. "There wasn't a lot of orchestration. It is a drum-and-voice song. Therefore, we did not want to use violins or other instruments in it."
One of the most popular songs from the film, Jashn-e-Bahaara, is heard in snatches as we see Akbar trying to woo his headstrong Rajput wife.
It is sung with enormous appeal by Javed Ali, a comparatively new singer. Rahman gives credit to Gowariker for spotting Ali's talent.
"He was one of the voices in a qawali type, elaborate song that we had recorded for the film, with Udit Naryan and Alka Yagnik doing most of the singing," Rahman adds. "It is a beautiful, haunting number but Ashutosh started wondering if he could do justice to it in the film. Finally, he decided not to use it in Jodhaa Akbar. He said he would use it in his next film.
"But he suggested we use Javed's voice for Jashn-e-Bahaara. I have used many upcoming singers. But this song sounds very special not only because of Javedsaheb's romantic lyrics but also the fine singing. I expect him to have an excellent career," Rahman says.
Courtesy: Rediff.com
The number follows Akbar's success in consolidating his hold on the empire. It is sung by Mohammad Aslam, who has performed for many A R Rahman tracks in Tamil and Hindi. Joining him is Bony Chakravarti.
The song is unlike any other Rahman composition but the maestro admits that he has used a similar number and orchestration in a Tamil film.
"But the song in Jodhaa Akbar is far better," Rahman says. "And it is used very well in an important part of the film."
The song sounds like it has voiced by a dozen voices and a raft of musical instruments.
"There was a lot of percussion, drums and voices mainly and chorus here and there," Rahman explains. "There wasn't a lot of orchestration. It is a drum-and-voice song. Therefore, we did not want to use violins or other instruments in it."
One of the most popular songs from the film, Jashn-e-Bahaara, is heard in snatches as we see Akbar trying to woo his headstrong Rajput wife.
It is sung with enormous appeal by Javed Ali, a comparatively new singer. Rahman gives credit to Gowariker for spotting Ali's talent.
"He was one of the voices in a qawali type, elaborate song that we had recorded for the film, with Udit Naryan and Alka Yagnik doing most of the singing," Rahman adds. "It is a beautiful, haunting number but Ashutosh started wondering if he could do justice to it in the film. Finally, he decided not to use it in Jodhaa Akbar. He said he would use it in his next film.
"But he suggested we use Javed's voice for Jashn-e-Bahaara. I have used many upcoming singers. But this song sounds very special not only because of Javedsaheb's romantic lyrics but also the fine singing. I expect him to have an excellent career," Rahman says.
Courtesy: Rediff.com
Ash, Abhishek in a Disney film?
After increasing its stake in the UTV-promoted television channel, Hungama, Walt Disney is all set to make an entry into the Hindi film industry. And their first project seems to be already underway.
Sources inform Gullu that Aishwarya Rai Bachchan had a long meeting with Disney officials two weeks ago, and they have decided to make a film with her. It will be directed by Mani Ratnam, and may also star Abhishek Bachchan
Ever since Mani Ratnam's brother, G Srinivasan, died in an accident, his production house, Madras Talkies, has been lying low. Guru (with Aishwarya and Abhishek) was the last film to be produced by Madras Talkies.
Mani Ratnam has never ventured out of his family's production house after it was formed. But now, it seems, he is keen to work with Disney and UTV.
The untitled film for which the script is being worked out will begin at the end of this year, and will release next year.
Courtesy: Rediff.com
Sources inform Gullu that Aishwarya Rai Bachchan had a long meeting with Disney officials two weeks ago, and they have decided to make a film with her. It will be directed by Mani Ratnam, and may also star Abhishek Bachchan
Ever since Mani Ratnam's brother, G Srinivasan, died in an accident, his production house, Madras Talkies, has been lying low. Guru (with Aishwarya and Abhishek) was the last film to be produced by Madras Talkies.
Mani Ratnam has never ventured out of his family's production house after it was formed. But now, it seems, he is keen to work with Disney and UTV.
The untitled film for which the script is being worked out will begin at the end of this year, and will release next year.
Courtesy: Rediff.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
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: A royal love story
Cast: Hrithik Roshan, Aishwarya Rai, Sonu Sood, Kulbhushan Kharbanda
Direction: Ashutosh Gowarikar
Music: A R Rahman
Production: UTV Motion Pictures
A love story, sweet and romantic. An interpretation of the rich history of a great Mughal emperor. A visual treat. Choose any one of these or all three, for Jodhaa Akbar is all in one: this is carefully crafted, meticulously executed high-class cinema. Ashuthosh Gowariker has proved his mastery over his craft beyond doubt. Handling the nitty-gritty details of history can be a bit irksome, and there are quite a few creative liberties taken in Jodhaa Akbar - not everything is straight out of the textbook. (This is told to us right at the start with an unconventional disclaimer). But then, that is the only way to keep a movie from turning into a documentary.
Jodhaa Akbar begins at a period when Humayun has just passed away and a 13-year-old Mohammad Jalaluddin is forced to ascend the throne and recapture Delhi from a barbaric looking king. Amitabh Bacchan’s baritone voice takes us through the early years of the young king till he emerges a man, with a dream of unifying all of India under the Delhi sultanate. He sets forth trying to realize the dream that generations before him have nursed. And learns that just battalions cannot win over the people of a country and that’s when one of the Rajput kings, driven to desperation by dynastic politics, offers his daughter’s hand to Jalaluddin in return for protection and amnesty. That’s where the beautiful and very different love story begins. Beautiful, because it is not love that begins in courtship and goes through romance, it is born instead out of compulsion and blooms out of companionship, respect and mutual admiration. In short, it is an arranged relationship turning romantic; the way wine matures in barrels over years.
Jodhaa Akbar shows how even an emperor is still a humble learner when it comes to love, how he evolves as a man after discovering love, how he begins to despise battle, embrace peace and become a better king. All this is captured amidst the grand and sometimes opulent settings of Mughal India, the splendor of court life, the high life of the royalty, the thrill of battle and the complex alliances and conspiracies that run rife in the politics of the empire. The first hour is all about setting the pace and building the characters. If you feel like yawning in the first hour or so, don’t feel disheartened: things pick up and never slow down from then on. That is around the time when Jodhaa and Jalaluddin start discovering their admiration for each other. From then on, right till the end the script moves at a brisk pace, not giving any room for boredom.
Moving on to the other aspects: the set design has to be definitely admired for successfully transporting us back to the 16th century. You don’t have to be a historian or have a thorough knowledge of different styles of architecture to appreciate it, it looks good and you are certain to admire it.
The settings of the Rajput palaces in Rajasthan look better and more colorful than the palatial rooms of the Mughals. Costumes are another high point of the film: Jalaluddin looks resplendent and majestic, and a lot of attention to detail has been showered on every character appearing in the film, all of whom look genuinely period. The cinematographer too has done a fine job, especially in the opening battle sequence, the scale of which really sets the tone for the film. Rahman’s score is another highlight of this movie. You don’t really notice the songs; you feel them as they waft in and out of the movie with ease, Jashn-e-bahaara stands out while Shaan-O-Shahenshah thunders with its drumbeats as Akbar’s reign grows in power and popularity.
Jodhaa Akbar
Certain scenes in the movie will remain with you long after you leave the theatre. The battle scenes, the climatic one-on-one fight, both the sword fights involving Aishwarya (she must have worked really hard at them), the ‘elephant taming’ scene and some sweet moments of veiled, subtle romance between the lead pair, whose chemistry is really excellent. Also memorable is the scene where Aishwarya herself cooks for the king. The point where Jalaluddin is adorned with the title Akbar (The Great) is a key moment.
Moving on to the cast- Hrithik has lived the role, he looks majestic and is always in command, except when in front of Aishwarya who has given one of her best performances (right up there with Hum Dil De Chuke Sanam and Guru), not to mention how good she looks. All other members of the cast add to the impact, with Sonu Sood and Ila Arun in particular doing well.
On the flip side (not really negatives), the first hour as mentioned earlier might put you off, there are certain scenes, right at the beginning and at the fag end that remind one of Troy (the Brad Pitt, Eric Bana starrer). If you are a stickler for historical accuracy, then you might find the movie a bit trying. Also, don’t expect an Akbar Nama or anything of that sort. You won’t find any of Akbar’s famous contemporaries like Birbal or Tansen in this movie, it is set in a slightly earlier period of his life; Todarmal is the only familiar name in the list of characters. You might need some patience to hear a thoroughly detailed narrative that lasts three and a half hours; people with edgy feet might get restless.
Where Jodhaa Akbar scores is that it remains true to its theme. It is a love story first and the life of an emperor next. The soul of the movie lies in the relationship, and Ashuthosh Gowariker had dealt with it superbly. It’s the kind of movie whose fate is a bit difficult to predict, but whatever the result, Ashuthosh Gowariker deserves a great round of applause for his guts and vision, which only a handful of directors in India possess. A sequel showing the rest of Akbar’s reign might not be a bad idea.
Verdict: A visual feast, an intoxicating love story
Courtesy: Behindwoods.com
Direction: Ashutosh Gowarikar
Music: A R Rahman
Production: UTV Motion Pictures
A love story, sweet and romantic. An interpretation of the rich history of a great Mughal emperor. A visual treat. Choose any one of these or all three, for Jodhaa Akbar is all in one: this is carefully crafted, meticulously executed high-class cinema. Ashuthosh Gowariker has proved his mastery over his craft beyond doubt. Handling the nitty-gritty details of history can be a bit irksome, and there are quite a few creative liberties taken in Jodhaa Akbar - not everything is straight out of the textbook. (This is told to us right at the start with an unconventional disclaimer). But then, that is the only way to keep a movie from turning into a documentary.
Jodhaa Akbar begins at a period when Humayun has just passed away and a 13-year-old Mohammad Jalaluddin is forced to ascend the throne and recapture Delhi from a barbaric looking king. Amitabh Bacchan’s baritone voice takes us through the early years of the young king till he emerges a man, with a dream of unifying all of India under the Delhi sultanate. He sets forth trying to realize the dream that generations before him have nursed. And learns that just battalions cannot win over the people of a country and that’s when one of the Rajput kings, driven to desperation by dynastic politics, offers his daughter’s hand to Jalaluddin in return for protection and amnesty. That’s where the beautiful and very different love story begins. Beautiful, because it is not love that begins in courtship and goes through romance, it is born instead out of compulsion and blooms out of companionship, respect and mutual admiration. In short, it is an arranged relationship turning romantic; the way wine matures in barrels over years.
Jodhaa Akbar shows how even an emperor is still a humble learner when it comes to love, how he evolves as a man after discovering love, how he begins to despise battle, embrace peace and become a better king. All this is captured amidst the grand and sometimes opulent settings of Mughal India, the splendor of court life, the high life of the royalty, the thrill of battle and the complex alliances and conspiracies that run rife in the politics of the empire. The first hour is all about setting the pace and building the characters. If you feel like yawning in the first hour or so, don’t feel disheartened: things pick up and never slow down from then on. That is around the time when Jodhaa and Jalaluddin start discovering their admiration for each other. From then on, right till the end the script moves at a brisk pace, not giving any room for boredom.
Moving on to the other aspects: the set design has to be definitely admired for successfully transporting us back to the 16th century. You don’t have to be a historian or have a thorough knowledge of different styles of architecture to appreciate it, it looks good and you are certain to admire it.
The settings of the Rajput palaces in Rajasthan look better and more colorful than the palatial rooms of the Mughals. Costumes are another high point of the film: Jalaluddin looks resplendent and majestic, and a lot of attention to detail has been showered on every character appearing in the film, all of whom look genuinely period. The cinematographer too has done a fine job, especially in the opening battle sequence, the scale of which really sets the tone for the film. Rahman’s score is another highlight of this movie. You don’t really notice the songs; you feel them as they waft in and out of the movie with ease, Jashn-e-bahaara stands out while Shaan-O-Shahenshah thunders with its drumbeats as Akbar’s reign grows in power and popularity.
Jodhaa Akbar
Certain scenes in the movie will remain with you long after you leave the theatre. The battle scenes, the climatic one-on-one fight, both the sword fights involving Aishwarya (she must have worked really hard at them), the ‘elephant taming’ scene and some sweet moments of veiled, subtle romance between the lead pair, whose chemistry is really excellent. Also memorable is the scene where Aishwarya herself cooks for the king. The point where Jalaluddin is adorned with the title Akbar (The Great) is a key moment.
Moving on to the cast- Hrithik has lived the role, he looks majestic and is always in command, except when in front of Aishwarya who has given one of her best performances (right up there with Hum Dil De Chuke Sanam and Guru), not to mention how good she looks. All other members of the cast add to the impact, with Sonu Sood and Ila Arun in particular doing well.
On the flip side (not really negatives), the first hour as mentioned earlier might put you off, there are certain scenes, right at the beginning and at the fag end that remind one of Troy (the Brad Pitt, Eric Bana starrer). If you are a stickler for historical accuracy, then you might find the movie a bit trying. Also, don’t expect an Akbar Nama or anything of that sort. You won’t find any of Akbar’s famous contemporaries like Birbal or Tansen in this movie, it is set in a slightly earlier period of his life; Todarmal is the only familiar name in the list of characters. You might need some patience to hear a thoroughly detailed narrative that lasts three and a half hours; people with edgy feet might get restless.
Where Jodhaa Akbar scores is that it remains true to its theme. It is a love story first and the life of an emperor next. The soul of the movie lies in the relationship, and Ashuthosh Gowariker had dealt with it superbly. It’s the kind of movie whose fate is a bit difficult to predict, but whatever the result, Ashuthosh Gowariker deserves a great round of applause for his guts and vision, which only a handful of directors in India possess. A sequel showing the rest of Akbar’s reign might not be a bad idea.
Verdict: A visual feast, an intoxicating love story
Courtesy: Behindwoods.com
Monday, February 18, 2008
The journey so far
Music virtuoso A R Rahman in conversation with Rajiv Vijayakar about his newly-launched Music Conservatory and projects in the pipeline.
In every composer’s life comes a stage when he wants to pay back the art and medium that has given him so much. A R Rahman began in 1992 with Roja’s original Tamil version, little realising that he would win the National award for his debut — a first in film music history before Ismail Darbar repeated the feat in Hindi films with Hum Dil De Chuke Sanam.
The payback in Hindi films was even better — Roja changed trends in music the way only Barsaat (1949), Dosti (1964), Aradhana (1969) and Aashiqui (1990) had done before. Today, Rahman, who also went on a techno trip and dominated digital domain and earned the ire of purists, is shifting gears. The Fuhrer of modern fusion, who has composed music in seven languages, has launched a unique Music Conservatory as his return gift to the seven notes.
Excerpts from an interview:
The K M Music Conservatory was a long-standing dream, right?
Yes, but since I kept hearing of similar projects I was not going ahead. Finally, since nothing was happening, I began work on it. Initially, we are operating from near my studio in Chennai. But soon, we will shift to a proper campus just outside the city.
What exactly is a Music Conservatory?
It is a concept quite prevalent in the West and takes care of music as well as musicians. For example, there are certain instruments that do not yield lucrative returns or even decent livelihoods for their players.
Such people can therefore earn in other ways, such as web designing or learning music production even as they continue with their passion. This ensures that such players are available and the instrument does not get lost.
In music today, being abreast with technology and music production opens up many doors and today's musicians should know these. When I have worked abroad, I have found it easy to prepare and record music in a few days flat — and yet it sounds good. This is as much because of the orderliness and harmonic structure of their music as it is due to availability of all kinds of instruments.
But in India, one has to often find musicians from abroad for an orchestra. And unlike two or three decades ago it is very difficult to find players of oboes or French horns, to mention just two instruments.
The same fate has come on various Indian instruments as musicians are discouraged from learning them because they cannot earn enough. In the end it is music that is compromised.
But in the conservatory, a young musician can learn even a rare instrument and earn well too. Since I have extended this concept even to Indian classical and folk music, musicians can come here to learn different styles of music too, like kirtanas or thumri. A world-class orchestra is another goal.
What will the faculty and curricula be like?
The K M Music Conservatory and Audio Media Education will be India's first Apple-authorised training centre. We will have a faculty of professors and musicians from both India and abroad and plan to start the first batch in 2008, when we will audition vocalists as well as different instrumentalists.
We will have courses in Western and Indian Vocals, Instrumental Performance, Classical, Theory, Music Appreciation, Ear Training, Piano, Audio Engineering, an Apple- certified course in Logic Pro, and a Digidesign-certified course in Pro Tools. We will give away A R Rahman Foundation Scholarships for deserving students.
Will you be choosier now about film assignments now to give more time to this activity?
(Smiles) A bit, yes. But then I was never into doing ten films at a time.
In Guru, your Barso re and Tere bina proved more popular than the ‘item’ song Mayya mayya. Does that indicate a shift in trends?
By itself, it is a very good sign. It is a fact that electronic music does not satisfy in the long run and I have always loved acoustics.
You have always taken amateur singers even if they are not in immaculate sur. Others use pitch-correction software for such voices, but you do not. Why is that?
I do not think that it is necessary to have perfection every time. Too much polish can be boring! (Laughs) It’s like this new jacket I am wearing which has rough and faded edges. That can sometimes look more attractive!
But some songs demand trained voices. Why did you want Aishwarya Rai Bachchan to sing the raag-oriented Man Mohana in Jodhaa Akbar?
Well, Ashutosh Gowariker was very keen on it, but Aishwarya had no time to rehearse. And there are hidden talents in people!
In Mumbai, two filmmakers have always had foolproof collaborations with you — Subhash Ghai and Ashutosh Gowariker.
That is why I am choosy and do not want to repeat some films that were mistakes. These filmmakers push you and yet give you time because they want perfection. As a composer, I have really enjoyed working on all their films.
You are the first choice in Mumbai for period films since Lagaan. But you have been accused of being indifferent to the eras and regions in terms of orchestration and sound.
Period films, whether Jodhaa Akbar or Bose— The Forgotten Hero make you think differently. You cannot use a catchy groove and a certain authenticity is needed. But at the same time, there should be a contemporary appeal and quality, so I have to see how friendly my music can be while retaining the correct vibe. I try to avoid something that has too modern, but it’s not always possible or even necessary. The impact of the orchestration and background music is more important, like Naushad-saab’s background score in Mughal-E-Azam.
Which are your forthcoming films?
I am doing Subhash Ghai’s Yuvraaj, Aamir Khan’s Jaane Tu Ya Jaane Na and his remake of Ghajini and Rakeysh Omprakash Mehra’s Dilli 6.
In Tamil films I am doing Shankar’s Robot and also Sultan— The Warrior. Then there is a Telugu film starring Pawan Kalyan.
Courtesy: Deccanherald.com
In every composer’s life comes a stage when he wants to pay back the art and medium that has given him so much. A R Rahman began in 1992 with Roja’s original Tamil version, little realising that he would win the National award for his debut — a first in film music history before Ismail Darbar repeated the feat in Hindi films with Hum Dil De Chuke Sanam.
The payback in Hindi films was even better — Roja changed trends in music the way only Barsaat (1949), Dosti (1964), Aradhana (1969) and Aashiqui (1990) had done before. Today, Rahman, who also went on a techno trip and dominated digital domain and earned the ire of purists, is shifting gears. The Fuhrer of modern fusion, who has composed music in seven languages, has launched a unique Music Conservatory as his return gift to the seven notes.
Excerpts from an interview:
The K M Music Conservatory was a long-standing dream, right?
Yes, but since I kept hearing of similar projects I was not going ahead. Finally, since nothing was happening, I began work on it. Initially, we are operating from near my studio in Chennai. But soon, we will shift to a proper campus just outside the city.
What exactly is a Music Conservatory?
It is a concept quite prevalent in the West and takes care of music as well as musicians. For example, there are certain instruments that do not yield lucrative returns or even decent livelihoods for their players.
Such people can therefore earn in other ways, such as web designing or learning music production even as they continue with their passion. This ensures that such players are available and the instrument does not get lost.
In music today, being abreast with technology and music production opens up many doors and today's musicians should know these. When I have worked abroad, I have found it easy to prepare and record music in a few days flat — and yet it sounds good. This is as much because of the orderliness and harmonic structure of their music as it is due to availability of all kinds of instruments.
But in India, one has to often find musicians from abroad for an orchestra. And unlike two or three decades ago it is very difficult to find players of oboes or French horns, to mention just two instruments.
The same fate has come on various Indian instruments as musicians are discouraged from learning them because they cannot earn enough. In the end it is music that is compromised.
But in the conservatory, a young musician can learn even a rare instrument and earn well too. Since I have extended this concept even to Indian classical and folk music, musicians can come here to learn different styles of music too, like kirtanas or thumri. A world-class orchestra is another goal.
What will the faculty and curricula be like?
The K M Music Conservatory and Audio Media Education will be India's first Apple-authorised training centre. We will have a faculty of professors and musicians from both India and abroad and plan to start the first batch in 2008, when we will audition vocalists as well as different instrumentalists.
We will have courses in Western and Indian Vocals, Instrumental Performance, Classical, Theory, Music Appreciation, Ear Training, Piano, Audio Engineering, an Apple- certified course in Logic Pro, and a Digidesign-certified course in Pro Tools. We will give away A R Rahman Foundation Scholarships for deserving students.
Will you be choosier now about film assignments now to give more time to this activity?
(Smiles) A bit, yes. But then I was never into doing ten films at a time.
In Guru, your Barso re and Tere bina proved more popular than the ‘item’ song Mayya mayya. Does that indicate a shift in trends?
By itself, it is a very good sign. It is a fact that electronic music does not satisfy in the long run and I have always loved acoustics.
You have always taken amateur singers even if they are not in immaculate sur. Others use pitch-correction software for such voices, but you do not. Why is that?
I do not think that it is necessary to have perfection every time. Too much polish can be boring! (Laughs) It’s like this new jacket I am wearing which has rough and faded edges. That can sometimes look more attractive!
But some songs demand trained voices. Why did you want Aishwarya Rai Bachchan to sing the raag-oriented Man Mohana in Jodhaa Akbar?
Well, Ashutosh Gowariker was very keen on it, but Aishwarya had no time to rehearse. And there are hidden talents in people!
In Mumbai, two filmmakers have always had foolproof collaborations with you — Subhash Ghai and Ashutosh Gowariker.
That is why I am choosy and do not want to repeat some films that were mistakes. These filmmakers push you and yet give you time because they want perfection. As a composer, I have really enjoyed working on all their films.
You are the first choice in Mumbai for period films since Lagaan. But you have been accused of being indifferent to the eras and regions in terms of orchestration and sound.
Period films, whether Jodhaa Akbar or Bose— The Forgotten Hero make you think differently. You cannot use a catchy groove and a certain authenticity is needed. But at the same time, there should be a contemporary appeal and quality, so I have to see how friendly my music can be while retaining the correct vibe. I try to avoid something that has too modern, but it’s not always possible or even necessary. The impact of the orchestration and background music is more important, like Naushad-saab’s background score in Mughal-E-Azam.
Which are your forthcoming films?
I am doing Subhash Ghai’s Yuvraaj, Aamir Khan’s Jaane Tu Ya Jaane Na and his remake of Ghajini and Rakeysh Omprakash Mehra’s Dilli 6.
In Tamil films I am doing Shankar’s Robot and also Sultan— The Warrior. Then there is a Telugu film starring Pawan Kalyan.
Courtesy: Deccanherald.com
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