Posts tagged A R Rahman
But the producers of Jhootha Hi Sahi, which has been pushed to October 22, insist that it’s to offer the maestro more “creative freedom”
Jhootha Hi Sahi which was slated to release on October 15 has been pushed by a week. The reason being its music director A R Rahman. The background music of Jhootha Hi Sahi still requires some work and therefore director Abbas Tyrewala has decided to postpone the release. The film will now release on the October 22.
Our source said, “Abbas Tyrewala wanted to give A R Rahman creative freedom and not nag him with deadlines. Therefore without batting an eyelid Abbas decided to push the release date and give A R Rahman more time to work on the background score of Jhootha Hi Sahi.
|A R Rahman and Abbas Tyrewala|
Although Abbas was travelling with Rahman everywhere to finish the background, it is obvious that the work is far from over. Abbas took a completely creative decision when he postponed the release date by a week. He feels that what Rahman brings to a project is very valuable. He did not want to hamper A R Rahman’s creative process by bogging him down with time limits.”
Producer Madhu Mantena confirms the news. “It’s true that we’ve decided to release Jhootha Hi Sahi on October 22. It’s only good, as we will utilise this extra time in promoting our film. It was a decision that we all took together. Rahman and Abbas have been working on the music and it sounds fantastic. However they feel that a little work is still required towards the end of the film. So we decided to push the film for now. It is for the betterment of the film and no date is more important than the film itself.”
When asked about the deadline to finish the music, Madhu said, “See they can still kill themselves and complete the flick in time as we have a week. However it is not fair to put these creative people under so much pressure. I think they need time to do their best work and that’s what we are doing.”
It is all very cooperative of these folks. But we wonder what Side B of the same argument sounds like.
By Taran Adarsh, October 5, 2010 – 08:38 IST
There’s a strong possibility that JHOOTHA HI SAHI may be postponed by one week. Slated for release next week [15 October], the film may now arrive on 22 October because music composer A.R. Rahman is yet to complete recording the background score of the film. Producer Madhu Mantena doesn’t rule out the possibility. “Yes, the film may get shifted to next week. It’s true that Rahman hasn’t completed recording the background score. Also, with two major films clashing on 15 October [AAKROSH, KNOCK OUT], there’s no point releasing on that date. Besides, the music of JHOOTHA HI SAHI is picking up and if we shift the film ahead by one week, it will only help the music to grow further,” Mantena states.
If JHOOTHA HI SAHI is shifted to latter date, Madhu Mantena will hold the distinction of releasing four films on a single Friday – JHOOTHA HI SAHI and the three versions of RAKHT CHARITRA [Hindi, Tamil and Telugu].
By Taran Adarsh, October 1, 2010 – 10:12 IST
One, it’s difficult to conceptualize and execute a film like ROBOT.
Two, when Rajnikant’s name comes in the credits, one cannot hear anything for the next two minutes. His name is greeted with a thunderous applause, whistles yells and cheers. Such is the charisma of this superstar. Rajnikant is the Boss. The real Badshaah.
ROBOT, directed by Shankar, is a Rajnikant Express that transports you to a world you can’t envision. Rajnikant’s feats are legendary by now. In ROBOT, he goes a step further. The Robot in ROBOT not only follows orders of his creator, but also cooks, fights, romances and wonder of wonders, has a lengthy conversation with a mosquito and scan loads of books/magazines and an entire telephone directory in a second. Yes, you read it right!
|BY BOLLYWOOD HUNGAMA.COM
That’s not all, this Robot is Superman + Spiderman + Terminator + Godzilla, all rolled into one. There’s more to this Robot. It can replicate itself, wage a vicious battle, turn into an Anaconda or a monster ball and wipe off an entire army. Whew! Known for larger than life canvas, ROBOT is Shankar’s most expensive and if I may say so, his most imaginative film thus far. And who better than Rajnikant for the pivotal role!
Final word? A Rajnikant film is an event and this combo’s [Shankar - Rajnikant] new outing ROBOT is sure to strike like Tsunami. Let me make it short-n-sweet. If you miss ROBOT, it’s YOUR loss!
Location: Chennai 2010. Mission: Creating a robot Chitti. Purpose: To help the society. Development time: 10 years. Special Features: A human who is not born, but is created. He can dance, sing, fight, is water and fire resistant. He can do all that a human can and more. He feeds on electricity. He takes instructions literally. Where a human can lie to save himself, this robot cannot lie.
Where he has a razor sharp memory and can memorize an entire telephone directory by just running through the pages, he cannot understand human emotions. Dr. Vasi upgrades Chitti’s processor and simulates human emotions without realizing the repercussions. Chitti gets transformed. He can now feel and the first feeling that he discovers is Love. Will this love come in the way of Dr. Vasi’s purpose of creating Chitti? Will Dr. Vasi’s own creation destroy him?
A title like ROBOT automatically puts tremendous responsibility and pressure on the director’s shoulders. And ROBOT is not merely a display of VFX, but it also has soul, a story to tell. At first, ROBOT comes across as a clash between the virtuous [Rajnikant] and wicked [Danny Denzongpa]. But ROBOT changes gears in its post-interval portions as the focus shifts to the creator [Rajnikant] and his creation [Rajnikant].
It’s a Rajnikant film and it would be incomplete if his loyal fans don’t get to watch his stylish actions and feats. Thankfully, ROBOT showcases it all. He can glide on the railway tracks, run horizontally on a moving train, transform into an Anaconda, can swallow helicopters and even fire at people with his fingers, without using a pistol. These are truly clap-trap moments!
Even otherwise, the screenplay is really well penned and absorbing. While the film is a super ride from start to end, it’s the penultimate 25 minutes that leaves you awe-struck and speechless. You can’t imagine a Hindi film having such an out of the world climax. There will be pandemonium inside theatres when the climax unfolds, I am sure. Let me confess, it’s the mother of all climaxes!
Only thing, Shankar could’ve controlled the length of the film. It could’ve been shorter by at least 10 to 15 minutes, which includes doing away with a song or two. Of course, like all Shankar movies, the songs are filmed most imaginatively on exotic locales, but what’s the point of having songs if they act as speed breakers?
That Shankar ranks amongst India’s best directors is well known by now and ROBOT only cements the fact. His vision and execution of the difficult subject deserves the highest praise, in fact distinction marks. He not only dreams big, but the outcome is incredible too. A.R. Rahman’s music doesn’t compliment the content of the film, but like I pointed out earlier, every song has been filmed exquisitely. The action and chase sequences are outstanding [Yuen Woo Ping, action choreographer in the MATRIX and KILL BILL sequels, was the stunt coordinator]. Visual effects are spectacular [Stan Winston Studio, the studio behind JURASSIC PARK, PREDATOR, TERMINATOR, IRON MAN, AVATAR, provided the animatronics technology]. Cinematography captures the grand production values with precision. The locations of Austria, Machu Picchu in Peru, U.S.A. and Brazil only enhance the visual appeal of the film. The sets are mind-blowing. Dubbing is near-perfect.
ROBOT is a Rajnikant show from start to end. And no other actor, not from Bollywood at least, would be able to do what he does with such amazing ease. Aishwarya Rai Bachchan looks stunning and acts most convincingly. Danny Denzongpa is efficient, as always. The remaining actors enact their parts well.
On the whole, ROBOT is a crowd-pleasing and hugely mass appealing tale of android revolution with a thrilling plot, rich and imaginative screenplay, super action, astounding effects and most importantly, Rajnikant, who is the soul of the film. It’s the Big Daddy of all entertainers. Miss it at your own risk!
So that Jhootha Hi Sahi releases on time, Abbas Tyrewalla is burning the midnight oil with Rahman
A R Rahman might be the toast of the Indian music industry, but Abbas Tyrewalla has had to face the brunt of working with the Academy Award winner.
His film, Jhootha Hi Sahi, will be releasing in a couple of weeks. However Abbas is travelling with Rahman to finish the background score all over the world.
Our source said, “Rahman left for his world tour, which started on the 11th of this month. However, the background score of Abbas’s film, Jhootha Hi Sahi is yet to be completed. So Rahman called Abbas over to Boston, where he was doing a show and then travelling all over.
Rahman finishes his concert and in the night goes to a local recording studio and records the background score for the film. Imagine travelling all over the world and recording a score in bits and pieces? They have already visited around seven cities, which include London, LA, Boston, New York and Vancouver, apart from Mumbai and Chennai, where work on the soundtrack had initially started.”
When contacted, Madhu Mantena, the producer of the film, said, “I don’t think Abbas is complaining at all. I am. He is having a ball travelling all over and working with a world-class talent.
However, for me as a producer, it is touch-and-go as the film is releasing on October 15, and the overseas delivery has to go on the 7th of October. The last part of the film has turned out to be toughest. However, it’s Rahman’s magic and so, we are not complaining.”
Meena Iyer | TNN (BOMBAY TIMES; September 11, 2010)
What do Shah Rukh Khan, Aamir Khan, Akshay Kumar and Ajay Devgn have in common? SRK’s first super hit Baazigar, followed by Yes Boss, Baadshah, Josh, Main Hoon Na, Akshay Kumar’s Khiladi, Dhadkan and De Dana Dan, Aamir’s eternal favourite Akele Hum Akele Tum and Ajay Devgn’s Tezz Bullet Train are bankrolled by the Jain brothers, who are known in Bollywood folklore as the ‘invincible seven’.
SRK went on to do not one but five films with Venus Worldwide Entertainment Ltd. And today, as this company celebrates its silver jubilee year, they’ve scored a victory once again. Two of the biggest names, Ajay and Anil Kapoor, are all set to act in their 25th film — Tezz Bullet Train which also stars Kangna Ranaut, Mohanlal, Zayed Khan, Boman Irani and Sameera Reddy.
Says Priyadarshan who is directing the film, the shooting of which has commenced in London, “I had a choice of producers for Tezz Bullet Train. But I chose Ganesh Jain and Ratan Jain of Venus because my experience with them on Garam Masala, De Dana Dan and other films has been very sound. They are a director’s dream because they never interfere with the creative and yet they are able to take away every obstacle while filming. This makes them ideal producers.’’ Ajay agrees, “A producer is someone an actor must trust implicitly. Venus is a good banner.”
The men in white, Abbas-Mustan, have also reposed their complete faith in this banner. And they say given an opportunity, they would chose Venus again because “this banner has always stressed on quality first’’. Ganesh, who looks after the music arm of Venus and who has recently acquired the music rights of A R Rahman’s The Robot, says, “Our mantra is simple. We don’t rest on past laurels. The banner has plans to continue with multiple film projects each year and I feel that if you emphasise on quality, then success follows. We also intend to diversify into other avenues within Bollywood.’’
The light-eyed Ratan, who is the tall, willowy figure often captured on candid camera in the same frame as SRK, Aamir or Akshay, says, “We are 25 years young. And even more enthusiastic today than we ever were as far as filmmaking goes. Our films have been so successful only because we’ve given maximum emphasis on the entertainment quotient. Baazigar, Main Hoon Na, Dhadkan, Akele Hum Akele Tum, Josh, Yes Boss and Garam Masala are just some of the films on our roster that continue to reign supreme.’’
Akshay has the final word, “I’ve enjoyed a fabulous working relationship with Venus, I’ve done some of my biggest hits — Khiladi, Dhadkan and Garam Masala with them.” Herein lies the Jain Brothers’ secret to success.
On finding something amiss in the final edit of Abbas Tyrewala’s Jhootha Hi Sahi, the composer added two songs to the soundtrack at the very last minute
Watching the final edit of friend Abbas Tyrewala’s Jhootha Hi Sahi, turned out to be dissatisfactory for A R Rahman, who is known for being a perfectionist. The composer found something amiss and made an impromptu decision to record two more songs for the film.
After watching the final edit of the film in Chennai recently, Rahman added one song to be played during the start and end credits of the film and another one that will be the title song of the film. Rahman has now sent the songs to his friend Tyrewala.
When contacted, Tyrewala confirmed the news and said, “Rahman felt that the film needed one song and deserved one song. For me, the album was done and we had seven songs in it but now we have two more making the total number nine.
The album will be releasing soon. Rahman felt that for the start and the end titles we should have a romantic track instead of just music. The song has a few English, some Urdu and a few Punjabi lyrics.”
Apparently, Rahman had suggested that the film should have a title track on hearing that the film was called Jhootha Hi Sahi. Tyrewala added,”He said that the film deserved to have a title track. He said, ‘I don’t care where you use it, whether you use it in the background or not but the film deserves it.’ In fact, he was in London at that time.
He booked a studio there and recorded it himself. We finalised the song on the Internet. It’s very nice of him to do it since he was in the middle of so many things.”
Coincidentally, Rahman has been busy dealing with the mixed response to his Commonwealth Games 2010 track. Wonder if that is prompting him to be extra careful with Tyrewala’s film? Of course, it could be friendship too.
Has India’s favourite music composer moved on to a bigger, global platform?
From Internet blogs to the denizens of Delhi’s South Block, everyone is splitting hair over his compositions. But the man behind it all is ensconced in his Chennai studio, unfazed by the furore around him. Like the proverbial eye of the storm.
For A R Rahman, these are the best of times, the worst of times. His art is at its most eclectic, garnering international acclaim heralding him as one of the world’s best. In his own country detractors are declaring that he has lost his touch. He is buying a five-acre plot in Los Angeles to set up his production facility with sound engineer Resul Pookutty. He is also being accused of being indifferent, aloof to his Bollywood projects, delaying them and churning out music that often stumps listeners. With every milestone in the West, Rahman seems to move a step away from home.
His fiercest critics are ironically in the industry that has given him his biggest successes — until of course Slumdog. The Hindi film fraternity has always had an uneasy relationship with Rahman, who is still god down south. Many in Bollywood find it hard to accept his artistic ways — he remains in Chennai, works mostly at night, has his own creative yardsticks for choosing projects and delivers only when he is ready. Some feel his best is behind him, others feel he is constantly breaking new ground.
“Given his style of functioning and his inaccessibility,” says trade expert Amod Mehra, “Bollywood always had a problem working with him.” Rahman has never made any excuses for the way he functions. And his studio can seem forbidding, or inspiring.
“There is a divine energy there,” says filmmaker Subhash Ghai, who has shared an emotional bond with the composer since his Shikhar days. “It is not your usual sharaab-kebab kind of atmosphere that you encounter in most Mumbai studios.” Ghajini-producer Madhu Mantena, who has worked closely with Rahman since Rangeela, too says watching the maestro in his studio is like entering a very sacred space.
But Rahman’s inaccessibility — which critics say has increased post his international-success — has not helped.
|“He is so dedicated to his work that each song probably goes through more changes than the
“If you are a newbie,” says a producer who has met the maestro and is still waiting for his verdict on his proposal. “You have to make at least 10 trips to his studio to discuss your project with him. Unlike other music composers, money is no criteria for him. There is no saying why or when he will pick one project over the other,” the producer adds.
“Now he is zipping around the world,” rues an ad filmmaker who is still waiting for a meeting, “it is almost impossible for one to get his time and consent.”
Rubbishing these as conspiracy theories, Mantena points out that Rahman has worked with several newcomers including Abbas Tyrewala, whose Jaane Tu… he had accepted way before Aamir Khan came into the picture.
“Besides, he is so dedicated to his work that each song probably goes through more changes than the script itself,” Mantena reveals, agreeing with other insiders like Ram Gopal Varma. “No matter how pressured he is, Rahman will never let a tune pass until he is happy about it.”
On the flip side, that can translate into nail-biting moments for the always-in-a-tearing-hurry Bollywood producer. Thus, the notion that Rahman is delaying projects.
Mantena denies the maestro kept him waiting for months for the title track for his latest, Jhootha Hi Sahi. “There are nine songs and the time taken was the same as any other album,” the producer says.
There were also rumours that the Jodhaa Akbar music launch was delayed because the soundtrack was not ready, though the label and the production house denied it. The Commonwealth Games theme took six months, and then it was back to the drawing board after the organising committee wanted Rahman to make changes.
|Subhash Ghai, Filmmaker:|
|“While working with him on Yuvvraaj, I realised he was
probably having trouble
“A single failure does not bring anyone down, not at least Rahman, who still has the mass with him,” says Mehra, referring to the Commonwealth controversy. “However, Rahman has not been showing his best elements on his recent works,” he adds.
“You cannot judge Rahman on the basis of one song,” says sitar maestro Pandit Kartick Kumar, who was featured in Rahman and Bharat Bala’s Jana Gana Mana project. Pandit Kumar worked with Pandit Ravi Shankar during Asiad ‘82, when the sitar legend composed the then-hugely popular Swagatham. “People have been comparing that tune to what Rahman has created. It is not fair to compare a classic with a more contemporary track,” Pandit Kumar says. “But, yes, maybe Rahman should not have sung the song himself. Just because his Vande Mataram clicked, does not mean he can bring the same energy to every song he lends his voice to,” adds Kumar. The veteran sitar exponent puts it down to an unfortunate error of judgement by an otherwise superlative production designer and musician.
Rahman’s world is divided into critics and loyalists. “It is every filmmaker’s dream to work with Rahman,” says director Anthony D’ Souza, who has graciously accepted all the brickbats for the mega-budget disaster called Blue. Critics flayed Blue’s Chiggy Wiggy, in which Rahman worked with one of the world’s biggest pop stars, Kylie Minogue. “I am willing to do anything to have Rahman agree to my next,” D’Souza maintains.
Rahman loyalists say you cannot judge a Rahman tune instantly; it’s not fast food, it’s gourmet cuisine. Others seriously question whether he takes any real interest in the Bollywood projects any more.
Ram Gopal Varma, who gave Rahman his first Hindi break with his 1995-hit Rangeela, wrote in his blog about the making of the soundtrack: ‘…the compositions he came up with used to surprise me, though not always pleasantly. That is because his tunes were so original in his interpretation of the emotion of a situation that a conventional ear will take time to let it sink in.’
Mantena too believes Rahman’s style is so ‘different’ that it shocks you the first time. “It depends a lot on what you have been used to listening to,” adds the producer.
“Rahman has always maintained he cares less about how the music is received and more about being true to the project,” says Mehra. “And while in the past his musical instincts have served him well, something seems to be going wrong now.”
The evolution of Rahman from the man who made hummable, instantly likeable tunes to someone who makes stylised and challenging music that often leaves you scratching your head on first listen, has coincided with his exposure to the best in the West. Sagar Desai, composer, sound designer of Quickgun Murugan-fame, has an explanation: “May be Rahman does not feel obliged to make tunes that appeal to the humble rickshawwallah anymore, but is more interested in staying true to his artistic core, no matter what the consequences.”
There’s no denying Rahman is one of the world’s busiest musicians. He has toured across continents — including trying to put up a Michael Jackson-esque show in his last aborted US tour — worked on some of the world’s biggest projects, with the world’s biggest names. He has also delivered at least 60 soundtracks (Hindi, Tamil, Telugu, you name it), with a hit or three in every one of them. But increasingly, the misses have piled up. Has Rahman —who once admitted to being bad at multitasking — spread himself too thin?
“When Rahman was working for Taal,” says Ghai, “he was completely immersed in the craft of composing. But while working with him on Yuvvraaj, I realised he was probably having trouble focusing with so much on his plate these days. You cannot blame him. He is an explorer who is hungry for more and wants to discover new sounds and new techniques. You have to allow him to grow. May be there are not enough challenges for him here.”
One of Rahman’s biggest contributions to the Indian music industry is the way he has treated musicians, who often feel short-changed by most composers.
“What makes him stand apart from the others is his ability to understand a musician and his comfort zone,” says Neil Mukherjee, who has played guitar for Rahman over seven years on several projects. “He will never make you feel uncomfortable.” And this quality of empathy, feels Mukherjee, is also tied to the maestro’s strong spiritual leanings.
But in the chop and change world of Indian film music, you cannot survive on spirituality. “He is extremely spiritual and sharp at the same time,” says Ghai. “He is like Lord Krishna.”
Rahman’s demanding the lion’s share of the music publishing rights for his films has not earned him too many well-wishers in the industry. The Om Shanti Om music composer shift (from Rahman to Vishal-Shekhar) was because Rahman wanted part of the music royalty rights. “Any change is frowned at,” he said then, “I am standing up for what I think is right.”
Ghai also says Rahman has become tech savvy, worldly wise over the years: “I have seen him update his gadgets and consoles after every six months, and 2001 onwards [post-Lagaan], I have seen him get increasingly clued into what is happening across the world. He is the best we have. Sometimes the artiste becomes much bigger than his art. You can’t help it.”
• CWG Anthem – Only for Rahmaniacs
• Robot – Hit in south, crashing elsewhere
• Raavan – Confusing
• Blue – Mixed, mostly negative
• Slumdog Millionaire – Global phenomenon, but perplexing at home
• Delhi 6 – Acclaimed
• Jaane Tu… – Pappu made India dance
• Yuvvraaj – Better than the film
• Ghajini – Mixed response
• Jodhaa Akbar – Esoteric, classy
• Sivaji – Fans rejoiced, few takers elsewhere.
In the making for six months and at the cost of Rs 5 crore, AR Rahman’s theme track for CWG gets a thumbs down from organisers and fans alike
His romance with the West may be peaking, but AR Rahman’s Indian run seems to have run into a bit of rough weather. His theme track for the Commonwealth Games (CWG) has not gone down well with both fans and politicians.
While the song’s online popularity is nowhere near that of Shakira’s Waka Waka, which he had famously claimed his tune would surpass, politicians and CWG officials now want the Rs 5 crore-track “recomposed”.
Swagatham aka Jiyo Utho Bado Jeeto is a mid-tempo song sung by Rahman with distortion guitars, bhangra beats, very 70’s style sitar riffs and a bit of English rap thrown in.
However, the composition, which critics say has neither the pace nor the punch of Waka Waka, or the rousing quality of Maa Tujhe Salaam, has disappointed.
Ever since he posted links to the tracks on his social networking pages, Rahman has been flooded with unsavoury comments. “We expected something better,” is the general refrain while others have been kind enough to say, “It will grow on you.”
Though experts say with more promotional activities the track it is likely to pick up, the CWG committee is unhappy with the result. Soon after the launch of the track on August 28, Vijaykumar Malhotra, board member of CWG organising committee (OC) claimed, “We had expected a better song from a composer of Rahman’s status. He has given some very good songs like Maa Tujhe Salaam but this song is not that impressive.”
Former sports minister Shahnawaz Hussain said, “I respect Rahman for what he has achieved but the track simply does not excite me. No one in the OC likes it except perhaps Suresh Kalmadi. It is nowhere close to Waka Waka and has failed to lift the sagging spirits of the CWG.”
Hussain said he was provoked to demand a re-composition of the theme track only because Lalit Bhanot, organising secretary of the CWG kept insisting that people would begin liking Swagatham if they keep listening to it. “Either it is good music or bad. There is no middle way to evaluate the appeal of a Rs 5 crore track, he can surely re-compose it,” said the Bhagalpur MP.
At the same Delhi’s political circuit is buzzing with questions over why Rahman was given the sole responsibility to compose the theme track. “Not all Rahman scores become a hit, do they?” say sources requesting anonymity.
Incidentally, the launch of the theme song was delayed as the OC had asked Rahman to make changes. “I think it won’t be good to release the theme song without making the necessary changes,” Rahman had earlier said.
Veteran jazz musician Louis Banks who has composed several theme tracks for popular shows and events, says, “Rahman’s work has always been controversial. But if you are truly inspired, it takes ten minutes to compose a tune. Given that it took him six months to compose it, I guess something must have gone wrong somewhere!”
Despite several attempts Rahman remained unavailable for comment.
By Bollywood Hungama News Network, August 30, 2010 – 13:11 IST
Even as the promos of his next big release Anjaana Anjaani continue to make waves with each passing day, Ranbir Kapoor is busy shooting for his next venture, director Imtiaz Ali’s Rockstar. Bollywood Hungama came across some on- the-sets stills of this eagerly awaited film.
Newcomer Diana Penty would be seen opposite Ranbir in this film. The unit of Rockstar recently shot in Prague. While it’s but obvious that Ranbir Kapoor plays the ‘Rockstar’ in the film, however in these images he looks far from being one. Maybe it’s yet another story of a small town boy going on to becoming a ‘Rockstar’.
One of the highlights of the film is its music composed by none other than Oscar winner A.R.Rahman. This is the first time that Rahman and Imtiaz Ali would be collaborating together and we can’t wait to hear the music of this film. Meanwhile, choreographer Bosco seems to be having some fun on the sets while choreographing what seems like a colourful dance number.
By Bollywood Hungama News Network, August 25, 2010 – 11:18 IST
One of the most eagerly awaited films of this year is the John Abraham starrer Jhootha Hi Sahi. The film directed by Abbas Tyrewala (who earlier gave us the smash-hit Jaane Tu…Ya Jaane Na) is the story of a compulsive liar who lies left, right and centre. Director Abbas Tyrewala’s wife Pakhi is paired opposite John in this film whereas one of the main highlights is A.R.Rahman’s music for this film.
Only recently the makers had revealed the first look of the film in a unique way with John climbing above a high rise and unveiling the boarding. The first look was a surprise of sorts for many people as John is seen in a completely new and different look as a geek in Jhootha Hi Sahi. But hold on…if you think the first look was awesome wait till you see the first promo of the film which will be unveiled exclusively on Bollywood Hungama. This one will surely have you asking for more. So until then, stay glued to Bollywood Hungama.