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Dark film with excited Soundtrack E-mail
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Amitabh Bachan somewhere in the 70s as angry young man came in sight, ontstak ultimately in fury, put processes in motion, did something to his hair, pulled back to profile themselves as a quizmaster on television and was also to commercials. Naseerruddin shah, an angry young man from the 70s, started his dissatisfaction continued to skies. He began his career at the time Bachan was a star in the film Deewar filled frenzy. While Bachan's opposition to the established order, tempered between the walls of the cinema (and later even uitdoofde), Shah continued his protest action. On his 65th he is still an amazing actor and seductive and kicking it at the state cinema, the spoiled stars, the superficiality of the so-called independent cinema, etc., to. His agitated eloquence is equal to his undiminished passion for action.

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Despite its apparent cynicism, he is busy with acting he is faithful to his enthusiastic and its mission. The hallmark of his acting talent is his diplomatic speech, the tone and tenor of his voice. After thirty years of film actor to have been permanently omgeturnd Shah to film director. The movie that he recently released debut album is titled: Yun Hota to Kya Hota. During an interview on Thursday, November 8 jl in the Tropen Museum in Amsterdam, he stressed that he is Indian films' a chain is stupid and boring repetitive scenes. Indian film industry, according to his statement very commercialized and produce to the conveyor belt ridiculous films' which according to the expected no more than a flop proposals. How 's it, there are no improvements, other themes conceived and errors corrected in a subsequent film. The film team considers its own trial as a film experiment, says Shah. During his press conference in KIT. In Western films', for example, be recorded on a line where actors can give more meaning to or can floppen. They are deemed not to other films, for which they are asked to work. However, an Indian fanatic for a 5 '6 films' simultaneously and continuously to sacrifice. The western regional films are thus even better than Hindi movies. Makers of Bollywood films' look at this down and turn monkey preferably after Western musicals from the 50s.

Even these copies are of inferior quality, which is pitiful. They remain worthless films' brew and claim that that the public is lower top of it. We restrict ourselves to the above film which Shah has a first set to a possible radical change in the Indian film design, it should be noted that this film in terms of plot and single relying kreunend will ascend to Western films and risk as a typical raunchy drama aside to be discarded. The central task in this cinematic design is the famous American dream, which is much higher than in the current America, India is manifest. Hindus' do not pray for luck, money and fame for everyone but mainly for himself. In India, the American Dream is to the extent that a poor person like multi-millionaire wants to be and the lowest in origin can be president if necessary.

As a result, attract many better-off Indians to America to make a new beginning. In the home country is not in jail, because not of nobility or insufficient money. The debut film by Shah is an episode in which four activities with different characters, and plot are chosen. Besides the fact that the American Dream as a plug should be September 11, 2001 affair as decor but not even used as a keystone of these four dramas are converged. If this is an attempt by the filmmaker has been a presentation of September 11, 2001, but on his Indian, then in absolute terms chosen for the most irrational, illogical and clumsy approach. The four parts constructed story is right-to-right, although gelardeerd with excellent impact but with a structure that does yearn for more streamlined. The film which also Shah responsibility upon himself, can really compete with the Western offer. Despite the fact that Shah during the interview he gave to Indian / Bollywood Music is equally horrible as the movies and that he mostly ears shall listen to Western music, in addition to India produces its own improvisation and symphonic pieces which form the basis Brahms, Chopin , Grieg, Schubert, Beethoven and Litzt have. In this regard, Shah road very lost, I fear. The structure of the atom story is as follows:

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Story 1: Tilottima (Konkona Sens Harma) married downloaded from the Internet Hemant (Jimmy Shergill). When it arrives it is a honeymoon because of the abrupt departure of Hemant for his work to the U.S., interrupted. Tilottima the U.S. desperation reached, vergast the exuberance of an angry and schuimbekkende mother (Carla Singh).

Story 2: Salim (Irrfan Khan) is a son of a stockbroker with a godmother (Saroj Khan) and is in love with the much older, but low cleanliness witnesses Namrata (Suhasini Mulay). When he came to an involuntary murder (Boman Irani) is involved, he discovered that he constantly takes the ootje and beduveld with other lovers. This murder, where he participated in part nor has his mother calls him moons are suitcases challenges and hazenpad choice.

Story 3: Rahul (Ankur Khanna) is a brilliant but poor student who has been admitted in a prestigious university abroad. He has a shortage of money and an incapacitated father. Suddenly, almost magically, all his problems, thanks to a friend (Ayesha Takia) in the world and help him watch a bright future.

Story 4: Rajubhai (Paresh Rawal) is an organizer of foreign shows. To participate in his show, a competitor soon many thousands have to pay. Tara (Ratna Pathak Shah) in the movie an old mistress has been Rajubhai, verpandt her house so her only daughter (Shahana Goswami) can take part. Below is the money maker the innocent girl on his tour abroad.

In To Kya Hota holds jumps roughness of an arithmetic series to film rushes from there, and the story told in four episodes, as a cinematographic work unpalatable and undeniably fatal. Shah would prefer at least shows great around and looked to have much to include, but not with such a absorberingsvermogen to save themselves in creative ways to do in discharging their own creativity. The film is a dark and all, except the excited soundtracks of a certain Shah, perhaps the same as a maker occurs. The score opens with a grand opening strijkwerk certainly generic credit. The music creeps like a red thread through the theme of the film and in any presentation breathtaking and moving! Besides these more subdued lyrical passages, the atmosphere usually threatening, mysterious and at times also quite aggressive. Sharp accents, wrenching wrijvende chords and violin passages typify the music that it goes to the language of film. The rhythmic and small piano pieces spiked pass your ears but will nest in it. This soundtrack to this film, although the only merit continue but with a great devotion, passion and ingenuity composed and orchestrated. There is therefore no doubt that this music will hold a unique place in a possible next work of this conductor / music director and composer.

Rabin Gangadin

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