ARR concert, Pune

Just returned from an ARR concert held in Balewadi sports complex, Pune and to tell you, it was just awesome as expected. It was a part of Jai Ho concert. Being an ardent fan of ARR it was unlikely i would have missed it but Id've loved it if it had gone for some more time. Although the concert started late at 7:45 instead of 7, it went on till 10:45. But after the closing song Jai Ho, i felt i was there for few mins only :-) ARR performed some of his best tracks among which were some tamil tracks also. He mesmirised the audiences with two back-to-back qawallis from Jodha Akbar and Dilli-6. Some of the noted singer who lent their voices were Blaze, Sadhna Sargam, Hariharan, Roop Kumar Rathod, Raja Hassan etc. The only flip side was the seating arrangements...But when ARR is playing who cares...... Hmm well here are some pics of the concert and don't curse me for poor photo quality, i went there with my digital cam but the security guys confisticated my batteries and I had to rely on my cell phone.

Play Misty for Me (1971)

Clint Eastwood never fails to amaze me. I have not seen a resume like what he has for an actor, a producer, a composer, a screenplay writer and a director, considering the fact he started off as a mere extra. Made his debut in 1955 as an actor and later turned into a producer and a director and is still going strong and looks fit for his age (Million Dollar Baby).

The beginning of the 1970s found Clint Eastwood either at or near the front ranks of actors who were considered sure box office, right up there with actors as diverse as Paul Newman and John Wayne. What caught a lot of people off guard in 1971, however, was when Eastwood, armed with the expertise he had gained working with Sergio Leone and Don Siegel, got into the business of directing. No one could have predicted that the Man With No Name would soon become the Man With A Big Name behind the camera. But that is indeed what happened; and his first effort both in front of and behind the camera was a winner: PLAY MISTY FOR ME


Filmed in Carmel, California, 'Play Misty For Me' features Eastwood as a DJ at a local jazz radio station taking all-night requests.On a particular night he gets a call from a mysterious woman to "Play 'Misty' for me", referring to a classic Errol Garner song "Misty". As it turns out, that woman (Jessica Walter) has something of a fixation on Eastwood. Furthermore, when Eastwood meets back up with an old flame of his (Donna Mills), Walter's fixation takes a turn towards the psychotic.

At this time if you are thinking this sounds like Fatal Attraction starring Michael Douglas, you would be right. The plot is same somewhat but personally I like 'Play Misty For Me' more cause me being a huge fan of clint Eastwood.

'Play Misty For Me' was not a perfect movie when it was released. There are a couple of awkward sequences that simply don't work at all in the film, but Eastwood recovers from such scenes and makes some very good and mature directorial choices as the film progresses.

Featuring of a cameo role from Eastwood's mentor Don Siegel as his local bartender, 'Play Misty For Me', despite some slightly misogynistic overtones, is an incredibly suspenseful work of filmmaking and shows the first glimpse of just how good Clint Eastwood would become both in front of and behind the camera.

Double Indemnity (1944)- Re-review

“I killed him for money and for a woman. I didn't get the money. And I didn't get the woman.”


Paramount Studio's 1944 release Double Indemnity is one of the best examples of true-to-form film noir. The plot of the film is straightforward. Fueled by greed, a wife decides to take out an insurance policy on her unsuspecting husband, with plans of murdering him for the proceeds. The policy contains a double indemnity clause, which will pay twice the policy amount in the event of death by accident. To make her plan succeed, she enlists the help of an accomplice to help murder her spouse and make it seem accidental.

Adapted from a novel by James M. Cain, Double Indemnity is loosely based on the real-life Snyder-Gray murder case of 1927, in which a New York housewife persuaded her young lover to commit murder. The woman had taken out a double indemnity life insurance policy on her husband without his knowledge. The murder succeeded but the killers were caught and executed the following year. Just as actual events influenced the making of this film, Double Indemnity has influenced numerous movies based on the same premise, the most notable of which are 1946's The Postman Always Rings Twice and 1981's Body Heat.



The film stars Fred MacMurray as Walter Neff, a fast-talking insurance salesman, attempting to pull the perfect fraud job. It is Fred MacMurray who is narratting the film. Of course he didn’t start out with that idea - it all stated when he met, and immediately fell for, Phyllis Dietrichson (Barbara Stanwyck). From there the tale she spins of her unhappy marriage, complicated by a tempestuous relationship with stepdaughter Lola, takes him on the slippery slope to crime. With his extensive knowledge of the insurance business, nothing can stop Walter from covering his tracks ingeniously… except the analytical skills of his friend, the fraud investigator Barton Keyes.

Frequently told in flashbacks, this movie is utterly compelling from the word go. It’s interesting to ponder whether this film could have had the same impact if it had been shot in colour - but I don’t think so. The filming is spot on, the camera angles, use of shadow and perspectives on the actors all add to the tension of the film. The screen does sometimes get so dark as to be impossible to tell what’s going on in a couple of scenes, but this is done deliberately so as to add to the suspense.

The film is very wordy, as so many films of the era were and the dialogue is often brilliant. Billy Wilder’s direction is another part of the key to this film’s being in the IMDB Top 250 Movies of All Time list and also features in the Top 50 among the IMDB Film Noir list in fact at # 3 when I last saw it. There are moments of humour to lighten the mood and scenes of compelling drama / intrigue / emotion. With the excellent acting, awesome script and breathtaking art direction / cinematography it makes one of the best films of all time in a lot of peoples’ list - including mine.

In case you didn’t know (I didn’t), the term “Double Indemnity” refers to an insurance clause where a double payment is handed out if someone whose life is insured dies in an unusual manner. Theoretically of course the chances of this happening are remote, meaning little danger of them ever having to pay it out… and cases when someone has died in this manner shortly after taking out a life insurance policy would automatically be viewed as suspicious. The way Walter covers his tracks, and the way Barton uncovers them, are quite brilliant and show (to a layman at least) a deep knowledge of the insurance business.

Double Indemnity was nominated for no less that seven Oscars; sadly it didn’t win a single one. But from 1944, it's popularity has increased year after year and when you talk of noir movies DOuble Indemnity instantly come to ones mind.

Miller`s Crossing (1990)- Weekend Review

Miller’s Crossing is one of those movies you may have to watch a few times to get the story straight. If you bother to do that, you will find it is a well plotted, well shot story that comes as close to a masterpiece as we are likely to get in this post modern age of instant gratification. It is a throwback to the film noir movies of the 1940s where everybody is guilty and there is no happy ending.


The plot deals with the war between Irish and Italian gangsters, caused by the Jewish crook Bernie. The crook's affectionate sister Verna is the mistress of Leo, who is the boss of the Irish gang, who consequently opposes to have him killed by the Italians. But Tom Reagan, the old mate of Leo, has different plans......



The story is extremely interesting, exciting, entertaining. There are no flaws in the development of the plot, despite its complications (a homage to the intricate classic film-noirs of the Golden Age). The script is sharp, cynical, sarcastic, full of memorable lines and of black sense of humor, with many delightful subtleties: the celebrated Coens wit at its best. The photography is magnificent and very original. The music is great. The action scenes are superbly filmed.Violence explodes suddenly and unexpectedly. The finale is perfect and splendidly crowns the movie.

In my modest opinion, this film is the Coen Brothers's greatest achievement to date, even greater than Fargo. Movie buffs are finally "discovering" Miller's Crossing, an underground masterpiece that has dwelt in obscurity for so many years.

The movie is probably not for those who want something with mile-a-minute pacing, crashes and explosions. I would say Miller's Crossing is the thinking person’s gangster movie. It needs repeated viewing and you continue to find more in it the more you watch it. If that describes you, I think you'll like it.

Happy Weekend!!!

Matchstick Men (2003)

Matchstick Men engagingly mixes two seemingly incompatible cinematic genres, the family bonding pic and the heist movie. Director Ridley Scott adapts Eric Garcia's story of a quirky con artist (Nicolas Cage) whose relatively normal professional life is suddenly thrown off kilter by his introduction to his 14-year old daughter (Alison Lohman) and her desire to be a part of his con artist life.

The appeal of Matchstick Men is derived primarily from the appeal and solid work of its leads, Cage, Lohman and Sam Rockwell who is Cage's partner in crime. Akin to his role in 'Adaptation', Cage plays an idiosyncratic person who exhibits symptoms and tics similar to one with Tourette's Syndrome. He does this without succumbing to the temptation to overact, instead effectively melding it into his character.

Lohman, who was twenty-two at the time of shooting, remarkably blends her real-life maturity with the proper carriage of her 14-year old character, never giving an indication of the age gap.



Rockwell epitomizes an intelligent con man in his supporting role, oozing sliminess while maintaining a professional air. This trio creates a very likable set of characters that carry the film.

A braid of professionalism weaves through the technical aspects of the entire film as well, also contributing to its appeal. From the top down, every facet of production is well done, even though the picture is not typical fare for many of its participants. Usually behind the lens of big-budget movies like 'Black Hawk Down', Ridley Scott adjusts well to this smaller picture, utilizing his preference for few takes to get the most out of everyone involved. The editing of Dody Dorn (Memento)is noteworthy for its tone-matching flexibility.

The first ninety minutes proceed leisurely, gently telling the story of a father and daughter. As the last half hour hits the gas, it throws you back in your seat, disrupting the established pace and eliminating the majority of the humor that had marked the film. Much of the first ninety minutes could be classified as comedy, while the final scenes fall into the drama/thriller category.




When a film really doesn't need to be hyped, unfortunately it can get lost in the shuffle of those films that are released the same week but marketed more aggressively. Some of those other films may be far less worthy of viewer attention. That seems to have been the case with Matchstick Men. This film didn't do that well in theaters, it was virtually ignored by all the film awards and sneaked onto the video store shelves without being noticed. It's ended up on HBO where it finally got the viewership it deserves.

A solid four of five stars for Matchstick Men.

Trivia: If I am not mistaken the hindi movie Bluffmaster starring Abhishek Bachchan was a ripoff of this movie.

Dilli 6- Music Review

Fresh from the Golden glory, A R Rahman has done it again. This creative titan seemingly holds the motto, that the sky is never the limit. Rahman has once again woven the musical web which captivates a listener. It is a real treat of all Rahmaniacs. The film's story maybe a well guarded secret right now, but after Rang De Basanti, Rakeysh Omprakash Mehra is trying hard to prove his metal again in form of Dilli 6. Keep in mind his first movie with AB senior was a disaster called 'AKS'.


Now back to the music of DIlli 6.

The first track is rushing up the charts due to the excellent promos running all over the music channels and the web. “Masakalli” grabs you by the ear right away with the sweet accordion sounds of the keyboard and soft percussion, but what really gets it going is the excellent singing by Mohit Chauhan (of Indi-Pop band Silk Route) who is finally given a chance to shine. His rendition of the title word, masakalli, but also the way he inflects his accent really gives the track a Delhi flavor. Rahman wisely lets the singer’s voice take center stage and provides just the right supporting instrumentation. Prasoon Joshi should be given special attention for writing the smashing lyrics, as they are a living breathing part of the song. This one has to be played loud as you dance that goofy dance that we do when no one is around! Thums up on this one…. way up!

From there we move into the world of classical music, with “Bhor Bhaye”. One can picture a beautiful Sonam Kapoor performing a classical dance to this. Shreya Ghosal is in top form and she is able to handle the swerving lyrical vocal effects of the classical raga. Ustad Bade Ghulam Ali Khan provides the masterji voice. The unique beginning of the track as if it’s being listened to on an old cassette deck adds a nice touch to it. Rahman backs the classical vocal styling with the traditional tabla and harmonium instrument combo. Fans of classical music will love this short but sweet track. Another thummmmmms up as classical dancers sway this way and that!


Amitabh Bachchan’s deep throated growl is the selling point of the next track, “Noor”, which is basically him talking over some celestial new age sounding music (think twinkling stars against the midnight sky). The shayeri styling is excellent. Short, sweet and to the point. Not really a song per se, but worth a listen.

Speaking of celestial music, the next song, “Tumre Bhavan Mein” is a beautiful aarti (prayer) song. Rekha Bhardwaj, Kishori Gowariker, Shraddha Pandit, and Sujata Majumder provide the angelic voices. The music is kept simple with the gentle strumming of sitar and ringing of bells to provide the calm atmosphere that one experiences during a religious ceremony or at the temple. A prayer to God and another thums up for this beautiful aarti!

Looped synth bass pervades the next song, “Genda Phool”, which is a traditional sounding track based on a family situation layered over a madman’s techno beat. It’s an interesting fusion by Rahman, and something that perhaps only a talented creator like him could carry off. It’s mad, it’s wild, and it’s strangely catchy. It’s cultured tradition for the techno crowd. Give it a listen, and you’ll be strangely captivated as your thumb slowly rises to say…thums up!

The next song breaks through that; however, as it’s what I feel the best track on the album. “Dil Gira Dafatan”, simply takes your breath away from the beginning. What with the opening lyrics eloquently sung by Ash King. Keyboards (keyboard violins) and the strumming of guitars in a very meditative style support King’s vocals. It’s almost gives the listener a feeling of riding a horse over the hills of the countryside, while the sun sets behind you and your heart pines away for the love of your life. The musical interludes are a pleasant fusion of Irish sounding flutes mixed with a bit of Chinese styling added in very subtly. Chinmayee provides the female counterpoint at just the right points.

After the breathtaking “Dil Gira Dafatan”, we are whisked to the present day with the “dance” track of the album, the quirkily titled “Hey Kaala Bander”. The title will leave you laughing and the rest of the song will put a smile on your face. It’s odd, and has a wandering techno beat, but the quirky lyrics and the interlude with the Arabic style singing adds a nice touch. Who knew that Prasoon Joshi had such a wicked sense of humor? Karthik, Naresh, and Bony Chakravarthy provide the aggressive singing that has a bit of rapping and a lot of attitude. Sometimes you don’t need a deep song to enjoy the music.

“Rehna Tu” starts out with a funky percussive beat with Rahman singing in a very jazzy style that immediately grabs your attention. The layered voices that support him include Rahman mainstay Benny Dayal and Tanvi. It’s jazzy, it’s funky, and it’s Rahman being playfully creative by combining different styles of music. The way Rahman enunciates…”Rahna Tu….hai jaisa tu” is very moving.

Yeh Delhi hai mere yaar…! You’ll be singing along to the next track “Delhi 6”. It’s funkedelic fun that will make you want to visit Dilli right away! The music is trip hopping with some mad guitar playing. Vocals by Rahman mainstays, Blaaze, Benny Dayal, Vivinenne Pocha, Tanvi, and Claire are suitably aggressive. The lyrics by Vivinenne Pocha and Claire fit the situation set up by the song.

What an amazing musical journey it has been so far with this soundtrack. Rahman has given us styles that range from the folksy “Massakalli” to the classical “Bhor Bhaye”, to the higher level aarti “Tumre Bhavan Mein”, to the funky yet traditional “Genda Phool”, to the absolutely masterful “Dil Gira Dafatan”, to the quirky “Hey Kaala Bander”, to the soul stirring “Rehna Tu”, to the urban funk of “Delhi 6”, and finally to a masterful end with an irresistible qawwali, “Arziyan”. Javed Ali and Kailash Kher bring the house down with this track. You will clap along with them as they sing the higher power lyrics written by Prasoon Joshi.

One would think that Rahman couldn’t raise the bar any higher.Just when you wonder how high he can go, he raises the bar even higher until one feels that he has attained true musical nirvana and we are lucky enough to be along for the ride. “Dilli 6” shows a Rahman that is at the top of his game. He is a league ahead of his contemporaries and an artist that transcends global boundaries to spread the joy of his music throughout the world. Do yourself a favor and listen to this one over and over. You won’t regret it as you let the music take you to the darkest and brightest parts of your soul. Rahmaniacs rejoice in the musical nirvana that is A.R. Rahman!

Track Listings:

1. Bhor Bhaye - (Shreya Ghosal, Ustad Bade Ghulam Ali Khan, Gujri Todi) - (3:19)
2. Masakali - (Mohit Chouhan) - (4:51)
3. Noor - (Amitabh Bachchan) - (0:50)
4. Aarti (Tumre Bhavan Mein) - (Rekha Bharadwaj, Kishori Gowariker, Shraddha Pandit, Sujata Majumdar) - (3:01)
5. Genda Phool - (Rekha Bharadwaj, Shraddha Pandit, Sujata Majumdar) -(2:50)
6. Dil Gira Dafatan - (Ash King, Backing Chinmayee) - (5:39)
7. Hey Kaala Bandar - (Karthik, Naresh, Srinivas, Bony Chakravarthy) - (5:43)
8. Rehna Tu - (A R Rahman, Benny Dayal, Tanvi) - (6:51)
9. Delhi 6 - (Blaaze, Benny Dayal, Vivinenne Pocha, Tanvi, Claire) - (3:36)
10. Arziyan - (Javed Ali, Kailash Kher) - (8:42)