- Rangeela mp3 songs
Rangeela was A.R. Rahman first hindi movie with an original score and was released in 1995. It was directed by Ram Gopal Varma and starred Aamir Khan , Urmila Matondkar and Jackie Shroff. This movie happens to the biggest hit of Urmila till date and Asha Bhosle made a comeback by singing some brilliant compositions like " Rangeela Re " & " Tanha Tanha Yahan Pe Jeena ". Aamir Khan gave his one of his best performances by playing the character of 'Munna' in the movie. In my opinion he was the unanimous choice for that year's Best Actor Award In a Leading Role but lost it Shahrukh Khan for DDLJ, since then he avoided all the awards function except the National Awards. - Dilwale Dulhania Le Jayenge (DDLJ) Songs
Dilwale Dulhania Le Jayenge (DDLJ) was released on October 20,1995 and went on to become the longest (600 Weeks) running film in Indian Cinema. The moive was produced by Yash Chopra and was directed by his son Aditya Chopra. The movie became a classic and was one of the biggest hits of all time. Jatin-lalit composed the music and the hit songs includes " Mehndi Laga Ke Rakhna ". " Mere Khwabon Mein Jo " and " Tujhe Dekha To Yeh Jaana Sanam " . It won 10 Filmfare Awards that year and started the trend of NRI's characters or backdrop in every major release.
Monday, September 15, 2008
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Sunday, September 14, 2008
1920 - Bollywood Movie Review
Cast: Rajneesh Duggal, Adah Sharma
Director: Vikram Bhatt
Rating: *
After “Phoonk”, you’d think the possessed woman was a thing of the past. But wait, it’s time for another lady to elevate far beyond her bed in a horizontal high that gives you a crick in the neck.
“1920″ is “Phoonk” in Scotland (or whichever foreign scenic spot), where the devil catches hold of the leading lady as she rests her head on the rattling bed, moved back by almost a century.
Screenwriter Vikram Bhatt attempts to thrust a weight over the theme of exorcism by taking the supernatural theme to British India. So we have soldiers, mutineers, rebels and renegades popping into the Scottish scenario like random guests at a outdoor masquerade party.
And then we have a doctor mentioning a certain “Dr Sigmund Fried” who is doing research somewhere far away from this film’s horrific domestic tussles, researching on the human psychology.
By the time we get to the grisly climax with flying chairs and human limbs, writer-director Bhatt, trying to do a razz-matazz to his supernatural hit “Raaz” five years ago, is on to a bigger formula.
The holy chants of the Christian priest (Raj Zutsi, trying hard to pronounce Latin correctly and translating it promptly into English and Hindi) merge into the chants of the Hanuman Chalisa. This is secularism gone supernatural!
There’s something terribly artificial about implanting a historical element into a tale that essentially wants to tap the most primitive and primeval fears of the audience. Rather than going into a tale of betrayal during times of cruel colonialism, Bhatt’s narrative should have just stuck to its gory guns.
Then maybe, just maybe, the B and C centre audiences who got the jitters watching “Phoonk” would’ve trembled at the diabolic toss and turn that the love birds experience in a verdant castle that is supposed to be situated somewhere in India in the year 1920.
So panoramic and National Geographic is the view that we often want the lead pair (both wooden and uninspired even when the ghouls provoke them into animated retaliation) to just move out of camera range.
Alas, “1920″ has a scary story to tell.
We are scared all right. Though for reasons other than the ones Bhatt would want us to be.
Saturday, September 13, 2008
Links for 2008-09-12 [del.icio.us]
- 1920 mp3 songs
1920 is a film which is directed by Vikram Bhatt and its a story about a a Hindu boy and an Angelo Indian girl. How they go against their families and get married. The hero is an architect and is given the biggest task of his life, to pull down a huge house and reconstruct it into a hotel.Unfortunately there is something in the house which will not allow things to happen the way he wants. A mysterious story unfolds and it is soon realized that the house is haunted. Unfortunately it is something to do with the heroine and then a series of mysteries unfold.
1920 mp3 Songs
1920 is directed by Vikram Bhatt and its a story about a a Hindu boy and an Angelo Indian girl. How they go against their families and get married. The hero is an architect and is given the biggest…
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Drona (2008) - Dowload Hindi Mp3 Song
Director : Goldie Behl
Producer :Shrishti Arya, Sunil Lulla
Cast : Abhishek Bachchan, Jaya Bachchan, Priyanka Chopra, Kay Kay Menon
Music Director : Ashutosh-Dhruv
Lyricist/s : Vaibhav Modi
Cassettes and CD's on : Eros Music Records
Singers : Sunidhi Chauhan,Nandini Shrikar,Roop Kumar Rathod,Sadhana Sargam,Shaan,Suzanne D'Mello,Francois,Dean Devlin,Sunaina
Audio Release Date : September 2008
MP3 Bitrate : 320Kbps
Tracklist:
01 - Dhruv - Drona
02 - Sunidhi Chauhan - Oop Cha
03 - Sunidhi Chauhan & Roop Kumar Rathod - Bandagi
04 - Sadhana Sargam - Nanhe Nanhe
05 - Shaan - Khushi
06 - Sunidhi Chauhan - Drona Redux
07 - Sunidhi Chauhan - Oop Cha (Fare - Play Mix)
Gul Panag Maxim September Magazine Scan
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Download Best Ghazals From Hindi Movies
Album Information
Album: Gazals from hindi Films mp3 songs free download
Song: Gazals from hindi Films
Singer: Various
Genre :Gaza's from hindi Films
Year Released: 2008
Tracklist
aap ki aankhon mein - ghar.mp3
aina mujhse - dady.mp3
bahot der kardi- tawaiaf.mp3
baiyya na dharo - dastak.mp3
chalte chalte - paakizaa.mp3
chamte chand ko - aawargi.mp3
chithi aayee hai-naam.mp3
chup tum raho - is raat ki subha nahi.mp3
chupke chupke - nikaah.mp3
dikhi diye yun-bazar.mp3
dil chiz kya ha-umrao jaan.mp3
dil dhondta hai - mosam.mp3
dil hoom hoom kare- rudali.mp3
dil ke armaan - nikaah.mp3
e dile nadan-raziya sultan.mp3
ghar se nitalte hi - papa kehte hain.mp3
hoshwalon-sarfrosh.mp3
hoton se chulo tum - prem geet.mp3
humko bhi ghum ni - aas paas.mp3
huzur is tarah se - masoom.mp3
in ankhon ki - umrao jaan.mp3
inhi logon ne - pakeeza.mp3
jab koi baat bigad jaye- jurm.mp3
jeyen to jeyen - saajan.mp3
jhuki jhuki si - arth.mp3
jushtaju jish ki - umrao jaan.mp3
kabhi kisi ko mukammal- ahishta ahista.mp3
kisi nazar ko - aitbaar.mp3
mera dil bhi - saajan.mp3
mitjhe mithe bol- kinara.mp3
mosam hai aashiqana- pakeezha.mp3
mujh se naraz - papa kehte hain.mp3
naam gum jayeega - kinara.mp3
phir chidi baat - bazar.mp3
phir wohi raat hai.mp3
roz roz aankhon tale- jeeva.mp3
samay dheere- rudali.mp3
shayrana si hai - phir teri kahani yaad aayee.mp3
tere dar par sanam - phir teri kahani yaad aayee.mp3
thare rahiyyo - pakizaa.mp3
tujhse naraz nahin - masum.mp3
tum itna jo -arth.mp3
Tum Ko Dekha- saath saath.mp3
tumse milkaer- pyaar zukta nahin.mp3
wo kagaz ki kasti - jagit-chtra.mp3
yara seli seli - liken.mp3
yeh dil aur unki - prem parbat.mp3
yeh kahan aa gaye - sil sila.mp3
yeh kaya jagah - umrao jaan.mp3
Friday, September 12, 2008
The Last Lear - Bollywood Movie Review
Cast: Amitabh Bachchan, Preity Zinta, Arjun Rampal, Shefali Shah, Divya Dutta
Screenplay Writer & Director: Rituparno Ghosh
Rating: *** 1/2
Greatness, they say, is never thrust on you. You are either born with it. Or you are not. Amitabh Bachchan is at a place today where nothing and everything he does surprises us.
The Bachchan saga gets one more twist in the tale as the ageing, cantankerous, flamboyant, eccentric and embittered Shakespearean actor battles old age, unwieldy hair and a receding genius.
And what a tale! Rituparno Ghosh specialises in telling stories that pitch two utterly unmatched characters against each other in a battle where the lines are drawn between the egos of the two individuals.
“The Last Lear” is actually a series of dramatic dialogues sewn together in a pastiche that suggests pain to be the constant subliminal text of all human interactions.
So we have this bearded ‘intense’ director Siddharth (Arjun Rampal) who decides to make a film on the life of an unemployed ageing clown. For the role, he approaches the reclusive wacky stage actor Harish Mishra (Amitabh) who sneers wryly at the very thought of entering cinema at his age, and then warms up to the idea and gives the part his heart and soul.
Interesting possibilities pitching cinema against theatre examined, explored, searched and dissected by the director with the microscopic manoeuvrings of emotions that the camera ferrets out of the human heart and makes visible to our eyes.
In Ghosh’s incandescent world of human suffering and redemption, you won’t find more than two people in the same room at any given time. Sometimes there are three. But then the third individual is so still in her space, you hardly notice her/his presence beyond a shadow.
Such is the truth of Divya Dutta’s character. As the benevolent nurse on night duty to look after the dying Shakespearean actor, she gives the actor’s mistress Vandana (Shefali Shah) and his co-star Shabnam (Preity Zinta) quiet company. The two women talk the night away on the man they’re both fascinated by.
Ghosh goes backward in time from the night the film featuring Harish Mishra is premiered to the interactive events leading up to his selection and shooting for the film.
The narration is purposely loose-limbed. Even the one-to-one interactions that are the backbone of this beautifully layered chamber-piece are done with the casual grace of a trapeze dancer walking the familiar tightrope blindfolded and not fearful of the fall.
The characters are all in desperate need of redemption. Whether it’s the jaded but still-spirited Shakespearean actor or his unhappy overworked mistress, or the model-turned actress Shabnam, or even the young journalist (Jisshu Sengupta) trying to piece together the opulent mystique of the Shakespearean actor’s ego and enigma - the characters are perched on the brink of self-destruction, holding on to that thread of self-esteem, which keeps them from that fatal fall.
“The Last Lear” is Ghosh’s second film in a row after the Bengali movie “Khela” to be located in the film world. The distance between the ‘reality’ of the acting world and the realism of the real world where people are often acting before one another, is covered by the sensitive director with supple grace.
The English dialogues are spun in spoken sensitivity. But the words do get in the way of the characters sometimes.
When the film starts Shabnam is on the verge of breaking up with her suspicious husband. By the time she starts shooting with Harish Mishra in a scenic hill station, she’s in an off-camera dialogue with her aged co-star and ready to scream out her angst in a war-cry of articulated liberation.
Preity does here what most actors shy away from. She actually listens to her co-stars as they express their angst.
The film is littered with luminous performances. If Divya is quiet and warm in her small role, Shefali simply takes over the screen each time she walks into the frame.
And after “Rock On”, Arjun Rampal delivers another pain-lashed performance.
As for Amitabh, he goes from venom to vitality in quick succession, creating for his character a kingdom of theatrical yearnings.
Ghosh has created a world carved out of mahogany-like glistening surfaces, hiding fears and anxieties that have little to do with Harish’s age, and everything to do with the rage that the experience of life brings in its wake.
Indranil Ghosh’s artwork and Abhik Mukherjee’s cameras write out the poetry of the motion picture.
Watch “The Last Lear” to see the layerings of emotion that the director extends into his narration without losing sight of the lightness of touch in the outer crust.
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