Posts tagged background score
By Taran Adarsh, October 29, 2010 – 17:22 IST
The first thing that catches your attention in DAAYEN YA BAAYEN is the breath-taking locales of Uttarakhand. In fact, you carry the stunning visuals in your heart as you exit from the auditorium. And that, in my opinion, is not good news for its makers. If you recall the scenic beauty, not the content, it means something is seriously wrong with that film. DAAYEN YA BAAYEN, to me, is akin to a beautiful painting on celluloid, minus soul.
DAAYEN YA BAAYEN may have been made with the right intentions, but the problem is that director Bela Negi has shot too much – some good, some pointless – and when you to try to encompass it all, it tells on the final product.
|BY BOLLYWOOD HUNGAMA.COM
Ramesh [Deepak Dobriyal] returns from the city to his small remote village in the Himalayas. Armed with irrepressible enthusiasm, he hopes to be the breath of fresh air the village has been waiting for. But, instead, his quirky traits make him the joke of the village.
In a dramatic turn of events, a chance entry into a television contest wins him a swank luxury car, elevating Ramesh to heroic status overnight. Adored by children and admired by the locals, he becomes the focal point of the village. It forces him to live up to the status of a car owner and unwittingly, he turns into a borrower and, before long, he is unfathomably deep in liability.
Bela reserves the best for the first hour: the story moves rapidly, the humour is enjoyable and manages a smile on your face and the sundry characters come across so real. But the film loses focus in the post-interval portions. It lacks the meat to carry the story forward, the sub-plots aren’t convincing at all and the pacing is lethargic, which makes you restless after a point. In fact, you fervently hope that the film would end soon.
Director Bela Negi’s story and execution have a strictly narrow scope. The real star of the show is cinematographer Amlan Datta, whose cinematography captures the mountainous topography with flamboyance. The background score is appropriate, while the dialogues should be well received by the viewers.
Deepak Dobriyal does decently well as the typical clueless dreamer. Bharti Bhatt performs well as Deepak Dobriyal’s wife. Badrul Islam is quite good. Manav Kaul is wasted. Pratyush leaves a mark in the role of Deepak’s son.
On the whole, DAAYEN YA BAAYEN caters to a miniscule segment of moviegoers and even that segment of audience won’t feel completely elated at the conclusion of the screening. The film has had an unsung release – there’s no hype or awareness – and combined with the negligible appeal, will undeniably prove to be a disaster at the box-office.
Refusing to shoot for a promotional song, the actors cost producers a colossal loss
As far as stories on actors’ whims are concerned, this one takes the cake. Lead actors of Golmaal 3 Ajay Devgn and Kareena Kapoor refused to turn up for the shoot of a promotional song in their film, causing the producer Ashtavinayak to suffer a loss of Rs 35 lakh.
The entire set that had been constructed specially for this song at Yash Raj Studios (Andheri) had to be dismantled because the actors chose not to come. Says a source, “The set cost Rs 35 lakh. Ajay and Kareena’s decision not to shoot for the extra song did not go down well with the producers, but they could do very little about it.”
Explaining why Ajay and Kareena did not shoot for the song, our source adds, “They did not like Pritam’s composition Desi Kali.”
Apparently, Pritam, who has composed the entire background score of the film, was the obvious choice for Desi Kali as well. Moreover, Bhushan Kumar wanted Pritam only.”
The source revealed that the two actors disliked the song and felt that it wouldn’t give any impetus to the film. But guess what? Yesterday, both Ajay and Kareena shot for an episode of Kaun Banega Crorepati 4. We suppose that suited their tastes better?
Pritam confirmed that Ajay and Kareena didn’t shoot for his song, and said, “I don’t know why they didn’t shoot.”
When contacted, Bhushan Kumar said, “Yes, a set had been put up at Yash Raj Studios. But Ajay was busy shooting for Priyadarshan’s film Tez.
In fact, I called up Priyadarshan and asked him for Ajay’s availability. But we couldn’t pull it off.”
When we told Kumar that Ajay and Kareena might not have turned up because they didn’t like Pritam’s composition Desi Kali, Kumar said, “See, I am telling you whatever I was told by Ashtavinayak.
Besides, I didn’t incur a loss as I am not the producer, Ashtavinayak is.”
While Ajay and Kareena remained unavailable for comment, Ashtavinayak too chose not to revert on the matter.
Our political system is filled with people who for some are demonic killers but for many, messiahs. They may be doing their work by breaking all laws but there might be doing it for the people and not necessarily for power and money. Demon in the guise of God or God in the guise of Demon, whatever you may call them, but such people do exist and no one could do any harm to them. Rakht Charitra tells the story of one such person who’s forced to spread bloodshed everywhere due to circumstances. A two-part film (with part 2 releasing next month), Rakht Charitra-1 is filled with violence, violence and more violence. But at the same time, it has a story and most importantly, the trademark Ram Gopal Varma direction that makes this film a gripping watch!
The story of the movie: Pratap Ravi (Vivek Oberoi) gets tragic news one day that his father (Rajendra Gupta) has been brutally killed by the people of his own party. Soon Pratap’s brother (Sushant Singh) too gets killed. Soft-spoken Pratap who always wanted to be away from violence now takes the matter in his own hands to avenge the death of his father and brother. Slowly, he eliminates all his rivals and becomes the undisputed lord of the region. He even joins politics and becomes minister in the cabinet of actor-turned-CM Shivaji (Shatrughan Sinha). However, as Amitabh Bachchan says in Sarkar Raj, “Apne sharto pe chalne wale ko keemat chukani padti hai”. The first part traces the rise of Pratap Ravi and presumably, the second part shall throw light on his fall.
Rakht Charitra-1 doesn’t have much story to tell and it’s the agitating background score and terrific direction that keeps you hooked from start to finish even though the film falls at some places in the 2nd half. A lot of important characters get mercilessly killed in the film but every murder is very well and impressively executed. However, as mentioned before, the film has too much of violence (especially the first half). In fact, Rakht Charitra-1 can be hailed as one of the most violent films to be churned from Bollywood.
There are several scenes that will give you an adrenaline rush. Vivek’s sudden violent outburst in the police station was too good to say the least. Then Vivek in the guise of a cop killing one his rivals was much unexpected and turns out to be another applaud-worthy sequence. Post-interval, the conversations between Vivek and Shatrughan were engrossing. And finally, the scene where Vivek orders all goons and bhai logs to stop all illegal activities and the scary looking goondas accept his order willingly gives an impression that RGV was and is still a fantastic filmmaker. At the same time, the film gives a glimpse of Part 2 of Rakht Charitra which also seems as exciting as the Part 1. Hopefully, viewers who’ll watch Rakht Charitra-1 will definitely go for Rakht Charitra-2!
I have always believed that Vivek Oberoi is a powerhouse of talent. But unfortunately, inspite of giving fine performances in films like Company, Saathiya, Yuva, Omkara, Kurbaan and Prince, he never got the appreciation and acclaim (and also fan base) that he truly deserved. With Rakht Charitra-1, he gives yet another outstanding performance and proves that he has loads and loads of talent in him. This wasn’t an easy role at all but Vivek does it quite effortlessly. And he looks quite cool with his moustache too. Hats off to you, VO!
Shatrughan Sinha was perfect for the role of Shivaji. The script demanded a larger than life personality and Shatrughan’s performance hits the perfect bullseye. Abhimanyu Singh (Bhuka Reddy) looked every inch the ruthless villain and leaves a deep impact. Nowadays, very few villains are able to make people hate them so much. But Abhimanyu succeeds in achieving the same. First Gulaal and now Rakht Charitra, Abhimanyu Singh will be surely getting more offers from now on. He deserves it! Srinivasa Rao Kota (Nagmani Reddy) also shines in the negative role. Sushant Singh was hardly there but as usual does a good job. Rajendra Gupta dominates the beginning scenes. Aashish Vidyarthi was terrific especially in the scene where he gets killed. Ashwini Kalsekar impresses as the cop. Same for Zarina Wahab (Vivek’s mother) and the actress playing Vivek’s love interest. Vishwajeet Pradhan, Darshan Jariwala and Sudeep were good in their respective roles.
There was no scope for music in the film. Yet, Sukhwinder Singh’s item song was incorporated which was pathetic! Action plays a crucial role in the film and Javed-Aejaz gets it quite right. Background score bears the trademark RGV stamp and was very effective and like most of RGV films, in Rakht Charitra-1 as well, the background score lifts several scenes. Amol Rathod’s cinematography was topnotch.
Prashant Pandey’s story was almost inspired from real-life incidents. It’s Ram Gopal Varma, the director, who wins hands down. It’s no secret that in such gangster flicks, Ramu is in full form. He proved it with Shiva followed by Satya, Company, Sarkar and Contract and he once again impresses with Rakht Charitra-1. Making a film where both sides are killing one person at a time is no easy task as the interest can wane anytime. However, thanks to RGV’s mindblowing execution, the interest stays right till the end. Barring some scenes in the 2nd half where the film fell, the entire film is fast-paced and gripping. Let’s hope Rakht Charitra-2 impresses the same way!
Some of the best scenes:
1. Pratap’s father gets killed
2. Bhuka’s intro
3. Pratap’s outburst in the police station
4. Pratap eliminating his 4 main rivals
5. Pratap takes away his love interest
6. The intermission point
7. Pratap joins hands with Shivaji
8. Bhuka gets arrested
9. The final scene
On the whole, Rakht Charitra-1 is terrific to say the least. With not much of a story, it’s the execution, performances and background score that make it a paisa-vasool fare. However, also be ready to see one of the most brutal violent scenes ever in this flick.
My rating-**** out of 5!
By Taran Adarsh, October 22, 2010 – 08:28 IST
Welcome to the law of the jungle. Where there’re no rules. Where the life of a human being is not worth a penny. Where goonda raj reins supreme. Where men are butchered and women abducted and raped. Where the police obey the orders of the goons. Where guns, swords, bombs, knives and sharp weapons are a man’s best friends. Welcome to RAKHT CHARITRA, based on the true story of Paritala Ravi.
Ramgopal Varma is known for dark and gritty cinema and RAKHT CHARITRA is not just the film-maker’s, but also Hindi cinema’s most violent film so far. Be forewarned, RAKHT CHARITRA is not for the lily-livered. Nor is it for those who love to visit cineplexes with their families, weekend after weekend, to watch that perfect family film. This one has just one song [not needed, actually], no romance, no comedy/humour, no phoren locations, no good looking faces, no family gatherings and no striking sets that are mandatory for escapist cinema. RGV is a rebel, he likes to make movies he believes in and RAKHT CHARITRA proves it yet again.
|BY BOLLYWOOD HUNGAMA.COM
Let me add, RAKHT CHARITRA is not one of RGV’s most accomplished works. Perhaps, one of the reasons could be because he’s now churning out gangster and crime-based films with amazing regularity and obviously, there’s not much he can explore due to the limitations of this genre. But, yes, RAKHT CHARITRA has a fascinating story to tell and even if you aren’t acquainted with Paritala Ravi, you might identify with RAKHT CHARITRA because the essence of the film is revenge.
Final word? With a title like RAKHT CHARITRA and all the blood and gore in the film, it’s certain that the film holds appeal for those who like to watch brutality in cinema, which, in turn, cuts off a sizeable section of the audience [ladies and kids]. However, from the content point of view, I’d say that RAKHT CHARITRA is the best bet of this week.
RAKHT CHARITRA deals with emotionally volatile people and is set in a rural environment. It tells the story of Paritala Ravi [Vivek Oberoi], a soft-spoken person, who took law in his hands to avenge the murders of his father [Rajendra Gupta] and brother [Sushant Singh]. Paritala Ravi’s name sent shivers up the spines of not only his rivals, but even the law enforcement agencies. He rose to become a minister eventually. The first part ends with his undertaking a mission to end goonda raj in the state.
By now we’ve come to expect zany camera angles, tight close ups, a raging background score, power-packed performances and abstract stories from RGV’s films and RAKHT CHARITRA is no different. Expect all this and more [read bloodshed] in RAKHT CHARITRA. Since RAKHT CHARITRA is based on a true story, there’s not much one can comment on it, but the manner in which the incidents unfold keep you hooked. Of course, it’s a vendetta fare, yet one is keen to fathom what essentially provoked a soft-spoken individual to transform into a killing machine.
Barring the incidents in the initial reels, there’s not much movement in the story in the first hour. In fact, there are killings and more killings. But the story gathers momentum when an iconic actor turned politician enters the scene and takes Paritala Ravi under his wings. The sequences between Shatrughan Sinha and Vivek are, frankly, the preeminent and most excellent parts of the enterprise. The post-interval is different because the killings reduce and Paritala now fights his opponent from the corridors of power.
RAKHT CHARITRA gets lengthy in its second half and one genuinely feels that RGV should’ve curtailed the length of the film by a few minutes, although the introduction of Suriya’s character at the end only raises the curiosity for the second installment.
RGV has handled a number of sequences brilliantly, but the film leaves you with a sense of deja vu off and on. Glimpses of films like SARKAR and SARKAR RAJ, besides SATYA and COMPANY, though not remotely similar to RAKHT CHARITRA, flash across your mind. It’s a little intricate to encompass all incidents in the screenplay, but writer Prashant Pandey makes a sincere effort. Cinematography [Amol Rathod] catches your eye. Action scenes are true to life. Background score compliments the mood of the film.
All RGV films are embellished with powerful performances and RAKHT CHARITRA is no exception. Vivek Oberoi breathes fire and venom and comes across as the most appropriate actor to infuse life into the character he portrays. He’s super efficient and his act in COMPANY and SHOOTOUT AT LOKHANDWALA pale in comparison. Shatrughan Sinha is remarkable. A powerful personality could’ve only been portrayed by a powerful actor and the veteran enacts it with amazing ease. Abhimanyu Singh is superb as the opponent. You hate him for being so evil and that only goes to prove how effective he is. Radhika Apte is good. Zarina Wahab is first-rate. Ashwini Kalsekar is excellent. Ashish Vidyarthi, Rajendra Gupta, Anupam Shyam, Sushmita Mukherjee, Vishwajeet Pradhan and Kota Srinivasa Rao shine in their respective parts. Sudeep and Darshan Jariwala get no scope.
On the whole, RAKHT CHARITRA is not for the faint-hearted or the lily-livered. The violence, the blood and gore depicted in the film will shock and disconcert you, which only goes to establish as to how proficiently the subject material has been treated. The film is targeted mainly at those who love to watch aggression, violence, bloodshed, brutality and massacre on the silver screen, but a chunk of the movie-going audience [ladies and kids] will choose to stay away from this scene of carnage. The business in Telugu and Tamil versions is expected to be excellent, due to the strong identification with the subject material.
Till a few years ago, words like ‘honour killings’ and ‘khap panchayat’ were unknown for most of the urbanites. But today, after reading the horrors of the same in newspapers, we are not only aware but also detest them. I often think how people can be so heartless that they are ready to kill their own offsprings for the sake of ‘honour of caste’? The brother, who grew up with his lovely sister, feels no remorse when murdering her; the mother feels no guilt when her son or daughter gets killed in front of her eyes…how is it possible? However, it is indeed possible and still happening in the interiors inspite of (feeble) government action and media reportings. Aakrosh, dealing partly with this issue, creates the right impact. It’s a terrific no-nonsense film that wonderfully exposes the system of merciless killings, the so-called ‘honour killing’!
The story of the movie: A lower caste guy, Dinu, and his 2 friends visit a small village, Jhanjhar, in Bihar and soon get disappeared. When their whereabouts aren’t known for 2 months, the pressure of the students in Delhi, where the missing guys belonged to, along with that of media increase considerably, forcing the government to appoint CBI officers Siddhant Chaturvedi (Akshaye Khanna) and Pratap Kumar (Ajay Devgn) to investigate the matter. Pratap was a localite and hence was well aware about the prevailing mindset. However, finding the truth becomes difficult for the duo. The local police and the corrupt police inspector Ajatshatru (Paresh Rawal) refuse to cooperate. A mysterious ‘Shool Sena’ operates in the area that has spread terror everywhere. The lower caste people also don’t open their mouths, for the fear of cops, upper caste people and Shool Sena. How Siddhant and Pratap find leads and progress in the investigation is what the rest of the film is all about.
Aakrosh might seem as a very serious fare. The film’s theme and the mood are indeed serious but it has been packaged as a fast-paced investigative thriller. And that’s why Aakrosh sustains the interest of the viewer from the first scene till the last. The film starts with the Ramlila scene depicted with utmost realism-curious audience watching with great interest, policemen stationed for protection, so-called VIPs at the place just for the sake of attending and talking and joking among themselves. The film gets better after Akshaye and Ajay get to know each other and begin the investigation. The roadblocks they face and how they get one lead after another is captivating. So much happens in the first half (75 mins) that you feel that some 2 hours have already passed by the time intermission comes. The best scene before the intermission is undoubtedly the rooftop chase sequence between Ajay and a suspect. Believe me, it’s one of the finest chase scenes of Bollywood!
The second half is shorter than the first hour but is nevertheless damn interesting. The film falls at certain places though but in no time picks up. Also there isn’t any suspense as such regarding the missing guys. In the beginning scenes itself, one will be able to guess who are the culprits. But that doesn’t pose a problem.
A film of this stature might fail if the climax is faulty. Thankfully, Aakrosh has an excellent climax where the duo finds the truth and punish the guilty tactfully. The film ends on a justified note.
Both Ajay Devgn and Akshaye Khanna deliver incredible performances. They are together for most of the scenes and it’s interesting to see them working together and also arguing. In short, they complement each other well. Ajay, who earn accolades for his act in Once Upon A Time in Mumbaai, come up with yet another fine performance. This is a must for his fans! Same goes for Akshaye and it was great to see him on screen after a long time. And the good news is, he’ll soon be seen in 2 biggies-Anees Bazmee’s No Problem and Farah Khan’s Tees Maar Khan!
Bipasha Basu was excellent in the deglam role. Paresh Rawal was too good in the negative role…one of his finest performances easily! Reema Sen leaves a mark. Amita Pathak looks beautiful and does a nice job in the short role. Sameera Reddy was sizzling in the item number. There was another item song in the film, featuring Urvashi Sharma which has been chopped off. Jaideep and the actors playing Reema’s hubby, Amita’s dad, the three missing guys, Bahubali and Paresh’s senior do their job well.
Pritam‘s music was ordinary in this film which didn’t have scope for music in the first place. The only song that leaves a mark is Sameera’s item song, Issak Se Meetha. Background score is minimally used. Still many scenes create an impact. Tirru S‘ shaky cinematography creates a tremendous impact especially during action and chase scenes. Thyagarajan and R P Yadav’s action was very realistic but impressive. Some of the scenes however are too violent and gory. But it was necessary keeping in mind the film’s theme. Sabu Cyril‘s production design as usual was flawless. I especially liked the idea of using an abandoned theatre as CBI temporary office!
Robin Bhatt and Akash Khurana‘s story and screenplay was impactful. Story was well-written, inspired from real-life events. Screenplay overall was good although the interest does dip at parts. Aditya Dhar‘s dialogues were acidic and sharp. Finally Priyadarshan impresses a lot as the director. Often veteran directors fail when they switch from the genre of their expertise and try something different. However Priyan has in his vast career attempted many genres and have been more or less successful. Even Aakrosh, which is diametrically different from his recent comedies, has a topnotch direction. A great job indeed!
Some of the best scenes:
1. Ajay and Akshaye’s initial meeting
2. Ajay tells his story to Akshaye and attack in their room
3. Ajay-Akshaye at Paresh’s birthday bash
4. Ajay chases a suspect on the roofs (awesome!)
5. Amita Pathak taken by CBI
6. The lower caste settlements are attacked
7. Ajay-Akshaye get chased by Shool Sena fanatics
8. Ajay-Akshaye chase in the jungles
9. The last 20 minutes
On the whole, Aakrosh is a wonderful hard-hitting flick. It is a serious film, no doubt, but has enough doses of action and thrill to keep the interest alive and to reach a larger audience. Unfortunately, the film has opened to low collections. However, do for this one if possible. After all, its meaningful, it’s entertaining!
My rating-**** out of 5!
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].
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.”
Shah Rukh Khan has apparently roped in Hans Zimmer of The Dark Knight and The Lion King fame, to compose music for his home production
Though known to be a perfectionist even otherwise, King Khan it seems wants to put all his energies in making his production RA.One, an international success.
Not too long ago, Shah Rukh Khan signed the pop icon Akon to sing one of the songs in the film. And now, the grapevine has it that SRK has signed German composer Hans Zimmer to work on the background score of the film. And if all goes well, this will be the first time Hans will be composing music for a Bollywood movie.
Hans Zimmer is recognised as one of Hollywood’s most innovative musical talents for having worked on super hits like The Lion King, Gladiator, The Last Samurai, Pirates of The Caribbean series, The Da Vinci Code, The Dark Knight, Sherlock Holmes and even the much-talked-abut Inception.
A source from the unit reveals, “Shah Rukh has roped in a lot of foreign technicians for his sci-fi flick.
He wants the film to be of international standards. It was his director Anubhav Sinha who suggested Hans Zimmer’s name for the background score. Anubhav took the help of his contacts to arrange for a meeting between Hans and SRK. With time, Hans agreed to come on board.”
Apparently, Hans has refused several Bollywood offers in the past and this time, he has agreed to make an exception for Shah Rukh’s film RA.One.
You wonder if King Khan’s charms won the day.
Well surely, but the buzz is that Hans has been paid a whopping 2 crore just to compose the background music for the film.
For now, Shah Rukh and Anubhav Sinha remained unavailable for comment.
For the first time in her life, the actress sang a song in her film Hisss, which was co-composed by John Lennon’s son
The latest addition to the bandwagon of actors lending their voice for films, is Mallika Sherawat. Not only is she trying to make it big in Hollywood (only), she has rediscovered herself as a singer.
The actress will be singing for the very first time in her upcoming film Hisss. Just before coming back to Mumbai, she recorded songs in a studio in Los Angeles, which will be released as part of the Hisss soundtrack and promotions.
Our source said, “Mallika has recorded her voice singing two different songs. The first one has been composed and arranged by Julian Lennon, son of John Lennon from the iconic rock band The Beatles.”
Apparently, after the track is mixed, the song will be sent to Julian for approval.
|Mallika Sherawat in a still from Hiss|
The source added, “The second track Sherawat recorded has been arranged by German composer Alexander Von Bubenheim, who provided the background score for Hisss. The music will be launched at a major event that is being planned for mid-September in Mumbai.”
When contacted Mallika Sherawat said, “I’m so excited about the Hisss soundtrack. We have an amazing background score by German maestro Alexander von Bubenheim, but I am pleased to announce that for the first time ever, I have sung a song for a film. Not only is that incredible for me but the song I sing is composed by Julian Lennon, son of the legendary Beatles singer John Lennon.”