Parampara (1992)

Its title means 'tradition', and it keeps with one of the most prominent and consistent traditions of Hindi cinema, which is also arguably a decades-old value-add for the masses. Directed by Yash Chopra, Writer Aditya Chopra's debut film, which also marks Saif Ali Khan's acting debut, sticks to the one of the most conventional family drama recipes. It succeeds to an extent less than is expected of a film with its stellar cast. Yet, the involvement of the cast and their performances are more than good enough to not be ignored, and what they make of the conventionalism is not at all bad for fans of the genre.

Thakur Bhavani Singh (Sunil Dutt) and his son Prithvi Singh (Vinod Khanna) share a tumultuous relationship over the father's upholding of tradition involving duels and subsequent killings. The other big issue between the two is that Prithvi has fallen in love with Tara Shankar (Ramya Krishna), sister to Gora Shankar (Anupam Kher), and member of the gypsy 'clan'. By the time Prithvi's father arranges a marriage for him with a woman of an equal 'class', he's married and fathered a child with Tara.

Yet, he must leave Tara and marry according to his father's wishes. That does not mean he is disrespectful to his new bride Rajeshwari (Ashwini Bhave). They eventually find love and have a child before Prithvi dies trying to, in his words, "end the tradition of hatred." Yet, as the father laments the loss of his son (here's a beautiful shot, think of the countless interpretations!), it is tradition that continues to matter most.


Fast forward a couple of decades and Prithvi Singh's sons are in college. Tara's son Ranvir (Aamir Khan) and Rajeshwari's son Pratap (Saif Ali Khan) meet in a beautifully executed race sequence.


They make some fun music and party hard.


All the while accompanied by Vijaya (Raveena Tandon -- paired opposite Aamir) and Sapna (Neelam).


Of course, Ranvir and Pratap eventually learn of their relationship, and their friendship changes to enmity. Each is groomed by his mentor, Pratap by his grandfather, the Thakur, and Ranvir by his uncle, Gora. Gora has the better argument and a message of peace, he just has much less leverage because of a relative lack of power, wealth, and accompanying status.

Tradition says the only way to resolve their dispute is with a duel between Prithvi Singh's two sons, in which one must die. And duel they must, despite rational thinkers (here, almost exclusively the women, it seems) pleading their case. Who will survive? What will come of it for the greater communities and clans they represent? And will the ladies stick by their men? Watch Parampara to discover. Its end might just be consistent with...well...tradition.

First things first. If you like duels, you must see this film. Just those involving Aamir and Saif offer good indication. A race involving a car and a horse. Then the formal one-on-one on three occasions, one each with foils, swords, and guns. Each is very well executed with the right intensity.


As much as I hate guns, I guess they can be used as an effective tool to foster love. How else could one explain this?


There is about a 20-minute segment half-way through the film in which comedy takes over. The film could certainly have benefited from more of it.


It's telling, because most of it involves Aamir and Raveena.


Surely, a precursor to their pairing in a classic comedy from a couple years later.


Aside: A well-deserved flashback (or flash forward, in the film chronology), from Andaz Apna Apna (1994)!


The music (Shiv-Hari) is about average, but the the picturizations and actors keep things interesting. Where there are gypsies, there will be a gypsy song, so there's Hum Banjaare by Lata Mangeshkar. Everyone who's rated Hum Pyaar Karne Lage on YouTube must like it more than I. And we know well that Aditya Chopra likes open fields :)


Neelam and Saif get Mere Saathiya, and Aadhi Raat Ko is my pick from the album. It's silly, I know, but it is used well, and stars Raveena in shalwar kameez! 8)


From a thematic standpoint, it is probably fair to think of Parampara as reinforcing the needlessness of the roles of tradition in family feuds, in some ways reminiscent of Qayamat Se Qayamat Tak (1988). However, what is a lot more different here is the depiction of the struggle to break out of what one inherently carries with blood lines. This is reflected by at least eight characters mentioned above, and although that might seem to be a lot, it's the very obvious masala nature of the film that makes its integration seamless.

I mentioned the cast, more than anything, making much out of little. The right amounts of emotion and intensity elevate this to a watchable film. This is evident from start to finish. Sunil Dutt, Vinod Khanna, Anupam Kher, and Ashwini Bhave (yes!) are the best actors in the film, which is not surprising given the year in which it was released. (There's a reason I haven't said much at all of Bhave.) Dutt is very effective in his work as the senseless father, father-in-law, grandfather, and community leader.


Woah, doesn't Sanjay Dutt look exactly like his dad?


Aside: He was also an excellent equestrian. Aamir has been quite vocal about his commitment to commitment being influenced by his working alongside Mr. Dutt in this film, who, it turns out, disappeared from the sets of Parampara for close to an hour on horseback, so he could tame the horse he'd be shooting an important scene with!

We talk of tradition in a civilized world that has made all sorts of progress in the last century, but this is probably going to go down as the most 'traditionally' relevant question in the history of mankind. (Speaking of which, you might find Salman Khan's latest blog post interesting -- especially the last two paragraphs.)


Neelam for public office!


Aamir, Raveena, Saif, and Neelam are present in a little less than half of the film. It would have been interesting had its format been closer to QSQT, with a short introduction to a greater theme, with more for these four. They're all in good form here. But then, we wouldn't have much of Khanna and Ramya, and it's not like there is a whole lot more integrated into the script that the youngsters would have to do. In other words, this could have been just as effective had it been shorter. Sadly, the one glaring letdown in the film is the script.

Having said that, if you're a fan of family drama, there is a chance it might work for you. If you're a fan of the cast, it's worth at least one viewing. And if you're a fan of both the genre and the cast, then you, like me, might consider it a fairly decent timepass flick. At the end of the day, it's not close to the best family dramas the actors have consistently delivered. Suffice it to say that a fitting tag line to the film would be: Tradition - It's in the name!

Movie rating: 3/5 (Above average)
Redundancy despite good performances can only be so good. Aditya Chopra knows not to heed that, but if you like his style of story-telling, you might like this much more than I did. Perhaps I am more critical of it given the cast. If you've seen it, please let's discuss know how you liked it.

Music rating: 2.75/5 (Average)
The background score is a complement to the drama, but the soundtrack very linear and conventional. Its integration is about okay. Overall, I cannot help but feel Shiv-Hari, who have delivered music to the likes of Silsila (1981), Chandni (1989), Lamhe (1990), and Darr (1993), could have done a lot better. Having said that, both Shivkumar Sharma and Hariprasad Chaurasia are phenomenal musicians who continue to give fans of Hindustani classical music so much to appreciate. No blasphemy intended, I think they're just exponentially better away from film.

My classification: PG-13
(For theme, language, sexual situations)

And finally...
Isn't it a wonder the film that turned around Saif's career nearly a decade after the release of Parampara, was one in which he starred alongside Aamir and Vindod Khanna's son Akshaye?

July releases and Bollywood in mainstream America

We're half-way through the year, and around this time last year was when Jaane Tu Ya Jaane Na took over, for which a shout out is in order. The multiplex strike is a distant memory, and there's a full slate of releases scheduled this month. As if it hasn't been official all along, Bollywood (it's in the name!) is in love with California, with two big releases at least partly based here. To top it off, I came across this at my local Best Buy store this weekend. I wonder if it's a pilot project for stores in and around Los Angeles, or a greater initiative of some sort.

Very interesting, and the prices are very reasonable too. Having said that, we know they need to do better with their selections when the only Aamir Khan film available is Mela (2000). Ouch. Partner (2007) is prominently featured. I thought it'd be a test case to prove Bollywood can do better with a Hollywood script (yes?), but Heyy Babyy (2007) put that opinion to shame. Not one Shah Rukh Khan film was available. Even *I* agree that's not a fair representation of our film industry :) Get with the program, Best Buy! How about putting Lagaan (2001) out there? Oh, well. Moving on...

Topping the July releases starring big names is Kambakkht Ishq on the third, with Akshay Kumar and Karena Kapoor in what promises to be yet another nonsensical comedy by Sajid Nadiadwala. At his peak, he's delivered with Salman Khan films such as Judwaa (1997) and Jaane-e-Mann (2005). At the other end of the scale is a film such as Heyy Babyy (2007), which I didn't like (but audiences apparently did, more than well). Akshay is a fine actor who is still often underrated, and the Hera Pheri series is probably my favorite comedy of the decade, but I wish he made better films. So, as you can tell, I'm somewhere in the middle when it comes to this particular film. But he's honest enough to tell the audience beforehand to check our brains at the door, and if I couldn't do that, I wouldn't be a true Bollywood fan, so... :)

On the plus side, very significant bits of this film are based in L.A., so it'll be nice to see nevertheless. The film will be selling a lot of the glitz and glamor of the city (of course!), but I wouldn't live in L.A. and Bombay if I were opposed to that :D On a personal note, the crew of the film were kind enough to have me on the sets so I could see first hand that the lovely Kareena Kapoor looks better in person than she does on camera (haaye Allah!).

Wish she too made better films, but at least she's working on it (read 3 Idiots!). The music (Anu Malik) is about okay; the title track is my favorite. The trailer to 'Bebo' feels as if it's Yeh Mera Dil from Don (2006) revisited. You can listen to the songs at this link. Official website: kambakkhtishq.erosentertainment.com

Next, there's the seldom mentioned Morning Walk, releasing the 10th. Starring Anupam Kher, Sharmila Tagore, Rajit Kapoor, Divya Dutta and others. Between its very interesting blend of music (Jeet Ganguli) and excellent cast, it's my sleeper pick of the month. Official website: MorningWalktheFilm.com


Luck, releasing the 24th, stars Sanjay Dutt, Mithun Chakroborty, Danny Dengzongpa, and Imran Khan. It's an action film shot in South Africa. Not too excited about all the violence that comes with bets, and guns (especially) not owned by law enforcement, which is the appearance the theatrical trailer suggests will dominate. Violence unaccompanied by purpose greater than wealth (e.g. in Ghajini (2008), and they had street fights, fewer guns there too) doesn't excite me enough to visit theaters. Haven't listened to its music (Salim-Sulaiman), and shall update this space if I like it.

Speaking of music, I must mention Jashnn, which releases the 17th. Its music by Toshi and Sharib Sabri delivers the solid soundtrack of the month, which I'd rate at three stars. Not sure what to expect of the Mukesh Bhatt film, though. The tagline reads: 'For every Nobody who wants to be a Somebody'. It's the tried and tested theme at issue. We'll see. Official website: Jashnn.com

And finally, there's Love Aaj Kal releasing the 31st. Saif Ali Khan's debut production is partly based in San Francisco, and as if the title wasn't enough to tell us what its segments are, the website is divided into sections for aaj (today) and kal (yesterday in this case; tomorrow when used with the appropriate tense). Based on this piece of information alone, we know where this film is going, don't we? Saif seems to like two dimensions. Aaj Kal. Hum Tum. What's next? Yeh Woh (This-That)? =)

Its music by Pritam Chakraborty is about average (and closer to that of Kismat Konnection (2008) than to that of Jab We Met (2007), i.e. for the worse). The one outstanding track is Yeh Dooriyaan by Mohit Chauhan, who, since his first big Bollywood hit in Rang De Basanti (Khoon Chala), has been unstoppable. To be fair to the music, I have yet to listen to the songs (especially Twist) in a club, so maybe I'll favor it more when at the right time and in the right place. It's a film written by Imtiaz Ali, whose last product, Jab We Met (2007), we know we like. And it stars Saif opposite Deepika Padukone. I wasn't convinced at first, but there's this *hilarious* bit in this theatrical trailer (exactly 45 seconds in) that I think our films took too long to borrow from reality ;)

So, for a packaging job well done, part of me is looking forward to it! If they use the music from Yeh Dooriyaan for their theme and through the score, which I think they will, the elements are in place for a biggie. I also have a feeling the ladies will like the film a lot more, but I'll shut up for fear of inviting trouble :) Official website: loveaajkal-illuminatifilms.erosentertainment.com; listen to the songs at this link.

Quick question: Am I the only who thinks this had might as well be Ranbir Kapoor and Deepika in Bachna Ae Haseeno (2008)?


Here's the complete listing of July releases (source: IndiaFM.com):

July 3
Kambakkht Ishq

July 10
Dekh Bhai Dekh
Mohan Das - A Man Lost In His Own Nation
Morning Walk
Sankat City
Short Kut - The Con Is On

July 17
Bachelor Party
Jashnn
Kissan
Perfect Mismatch

July 24
Luck

July 31
Ek Second...Jo Zindagi Badal De?
Fast Forward
Love Aaj Kal

Kaagaz Ke Phool (1959)

The title song to this film tells us not to sit in a garden comprising kaagaz ke phool (paper flowers). But if viewing films is like walking through gardens, this one directed by and starring Guru Dutt is well worth walking through despite having more thorns than flowers. In what has to be one of the earlier films reflecting on the film fraternity, its artistic prowess, thoughtfulness, and purposefulness, when placed in the context of the era in which it was released and from among the ones I have consumed, are rivaled only by Guru Dutt's 1957 wonder, Pyaasa.

The flashback that the film essentially is, delivers a glimpse into the life of a renowned film director Suresh Sinha (Guru Dutt). Suresh and his wife divorce partly because of his in-laws' apathy to films and filmmaking. He has extremely limited access to his daughter Pammi, who plays a critical role later in the film, when an orphaned Shanti (Waheeda Rehman) forays into his life. Suresh and Shanti enjoy tremendous success with his next film (fittingly, Devdas), in which he casts her as Paro, propelling her to stardom. Decisions on their togetherness follow, initiated primarily by Shanti, who suspends her career for reasons you must discover with your viewing.

This leads to Suresh losing control of his career, until he has a decision to make when Shanti offers to use her leverage to his benefit upon her return. Will he accept? Where will his decision lead him? And how will perceptions of his art continue to impact his life? Watch Kaagaz Ke Phool to discover. The outcome will most certainly leave you thinking, as will some tremendous imagery that requires no accompanying dialogue, with not a shadow out of place, and not a light used in excess.


It's hardly all serious, though. Seldom can be when Rocky (Johnny Walker) is around! And look who has the upper hand (pun intended) in this handshake with Dr. Singh (Minoo Mumtaz)!


Aside: So this is the second film in which I've really enjoyed Minoo Mumtaz's performance, the first being a guest appearance in Naya Daur (1957). If you have any specific recommendations (of films and songs), do let me know.


Paper flowers symbolize a lot more than a title would ordinarily suggest. At the surface, they address how fragile human relationships are. Dig deeper, and they present a valid viewpoint which equates the exploitation of vulnerabilities in relationships to selfish tendencies inherent in being human. There is an obvious correlation to the challenges that lie in pursuit of happiness, with allusions to questions such as: What price are we willing to pay? Do we account for others' interests when making decisions (in something as trivial as choice of words to articulate thoughts)? Where do our priorities lie?

But think scalability to humanity, and the deeper meaning to the message the paper flowers carry could well be interpreted to be that being on either extreme of any scale only spells trouble (and the absolute nature of this is only applicable in its relevance to every scale). The film doesn't say this explicitly, but it doesn't need to. I think its accuracy and validity are pretty obvious.

Having said that, I am curious to learn of the viability of my thoughts (scales, two extremes to each, and that it's good to be somewhere in the middle) expressed in the previous paragraph, specifically within the scope of this film. Am I the only one who is caught between agreeing with the treatment of Suresh Sinha (with the response of the producers to his film after Devdas, for example) being sad and arguably unfair, on the one hand, but finding it difficult to feel sorry for Suresh's response to the treatment he received? To take a stance either way would initially appear straightforward, but what adds complexity to answering this is that I do not believe Suresh was insecure of his position. There's something to be said of the maturity of thought that led to his decision-making. In how it is packaged in the film, almost a rare, assured understanding of what played out around him, a resolution to not be part of it, and a willingness to accept the consequences.


Each of these are also indirectly alluded to in the brilliant title track with which the film opens. Mohammad Rafi in absolutely phenomenal form here:

The soundtrack, with music by S. D. Burman and lyrics by Kaifi Azmi, is rather good, and contains the ever-popular Waqt Ne Kiya Kya Haseen Sitam by Geeta Dutt. (A quick search on YouTube leads to this user-generated rendition of the great tune.) San San San Chali Hawaa is a fun car song by Asha Bhosle, Rafi, and Sudha Malhotra. A rather good kid song, Ek Do Teen by Geeta Dutt, is an excellent example of the wide-ranging improvisational skills of the one and the only Waheeda Rehman! I wonder if Guru Dutt ever sang this to her. (Excuse the tangent, but I love that song! :)


My huge expectations going into this film were met. I try to refrain from discussing the personal lives of our actors, but this film challenges that. I kept thinking while viewing whether Dutt was summarizing his experiences and rivalries within the film industry. If you are aware of any fact-based sources of information that would help answer this question (with specific mention of the film), please share the references. In any case, Kaagaz Ke Phool excels where it matters, and for that, I think it's well worth checking out when you're in the mood for some quality cinema that is best consumed in a quiet setting that serves as an incubator for reflection.

Movie rating: 4.5/5 (Excellent!)
Pyaasa is a more complete product, but that it is used in the same sentence as Kaagaz Ke Phool is compliment enough for the latter.

My classification: PG

Music rating: 4/5
Two outstanding tracks in a surprisingly pleasant soundtrack which is well-integrated in the film.

On Location, and more on Project Extraordinaire

The last in the Lagaan Week 2009 series. A big thank you to all guest writers and contributors, readers, and those who cared to add so much more to the discussions by commenting. I hope you had as much fun this week as I did bringing these posts to you. Assuming my blog and I live another year, see you again in Lagaan Week of 2010! Tonight, I'll light a cigar in honor of Lagaan: Once Upon a Time in India...good film, this :)

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We've seen the film and appreciated the fantastic artwork that defined it. We acknowledge Captain Russell (Paul Blackthorne) is one of the most effective villains in recent memory. Now, let's walk through his abode! Hindi film blogger Darshit Joshi visited the Vijay Vilas Palace in Mandvi, a remote area in Kutch in the Indian state of Gujarat. The site featured in the film as the quarters of the commanding officer of Champaner.

Darshit has a great picture essay at this link, in which he ties his beautiful photographs of the exterior and interior of the palace to specific instances in the film. Please visit and thank him for bringing us such a remarkable post, complete with an obvious connection to Lagaan from the gates to the palace! The palace is simply majestic; by definition, it's supposed to be, I guess, but music such as this sample from the background score adds much to its aura:

The complete album of Darshit's pictures is available at this link; here's a sample:


But wait, that's hardly all! He also visited Kunariya, the Gujarati village in which Lagaan was filmed in 2000. (Did you know Lagaan XI played there well after the film was released? Inspirational story.) He's taken some excellent photographs of the location, and even visited the theater which hosted the world premiere of Lagaan -- fittingly, showcased to the very villagers who were the life of the film. The post, which outlines a heck of an adventure, is available at this link. Remember this?


Of course, no film using synchronized sound and involving as many as 10,000 individuals on one set can be made without overcoming tremendous project management challenges. Sujoy Singha is a student of Management Science at the University of Southampton in the United Kingdom. A class project for Managing Resources and Operations inspired him to analyze the making of Lagaan. Complete with risk analyses and notes on the scope and stakeholders of the massive project (and at the time, the most expensive Hindi film ever made), you can find his paper, "Lagaan: A Project Management Case Study of the Making of the Film", at this link. Sample this from the post:

...Lagaan needed to be made. To quench the thirst of Bollywood lovers like me craving to see a cinematic magnum opus unveil its hues on the big screen and make my eyes gleam. Lagaan needed to be made to make me lift my hands in triumph every time Kachra took a wicket. ...Lagaan needed to be made because a silly sod like me could understand the principles of Project Management through it.

And finally...
Among the works cited in posts by Darshit and Sujoy, and as referred to in some of the other posts this week, is The Spirit of Lagaan by Satyajit Bhatkal. It is one of the best books I've read on cinema. (Here are some notes.) If you enjoyed the film, you'll most certainly love it!

Please note all Lagaan Week 2009 and 2008 posts will soon be archived in this intro post, which will always be retrievable by clicking the Lagaan badge in the sidebar to the right.

Guest post: The Sound Feast that is the Lagaan soundtrack

Aline is originally from Mexico and lives in France, where she works as a language specialist. Lagaan was one of her first Indian cinema experiences, and transformed her into an ardent Aamir Khan fan. Her admiration of the actor eventually led her to my blog and motivated her to actively participate at Aamir's. Her parallel involvement in music recently resulted in an invitation to write Bollywood soundtrack reviews for the European-based Hindi Cinema blog, where she posts regularly.

Thank you Aline for sharing your brilliant dissection and expert analysis of songs in what I agree is by far one of the greatest soundtracks of our times!

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Lagaan… The sheer sound of the word expresses the substance and the magnitude of Ashutosh Gowariker’s film, and truth be said, the soundtrack is as magnificent as the viewing experience.

Yes, thunder never sounded so human and humans never sounded so thunderous. The opening Ghanan Ghanan sets the tone for the film plot as clouds start to gather much to the joy of Champaner villagers, while an all-star rainbow of vocal hues makes its appearance on the music canvas: Alka Yagnik’s smoothness, Udit Narayan’s radiance, Sukhwinder Singh’s warmth, Shankar Mahadevan’s poignancy, Shaan’s zest. Considering myself a voice maniac, I never tire of savoring this song as a particularly luscious treat. However, concentrating solely on the voices would be a pity. Ghanan Ghanan also introduces a playful dafli, a droning synth, pounding drums and crystalline strings. This is the next best experience to actually feeling rain droplets falling on our ears!


Following such a magnificent opening, a rhythmic Mitwa progressively conveys courage and hope through the growing and exuberant use of bass drums, a deliciously folksy violin, a subtle ghatam and the lively use of wind instruments, an ektara and synth strings. Alka Yagnik’s deep voice and Udit Narayan’s uplifting timbre accurately reflect the song’s mood, adding strength to the respective scene in the film.


Radha Kaise na Jale is a particularly eloquent example of how A. R. Rahman’s orchestration talent can make listeners travel through time and space. With eyes closed, where else could this song take us? Well… the countryside, during Holi of course, where Krishna, Radha and the beautiful Gopis dance with the birds whistling in the background. Asha Bhosle’s teasing vocals particularly shine against bells galore, tabla, dandiya stick and a flute that guides her through the song, culminating the lovers’ mischievous interaction with a beautiful display of bhimpalasi raga.


O Rey Chhori features the film’s main trio, each singing their respective declarations of love and I must confess that I have rarely found a musical love triangle so interesting. The song’s forte lies in the transitions between an Eastern upbeat theme strewn with the sound of dry bells and light drums and a Western honey-sweet tune, complete with harp, violins and operatic voices. Javed Akhtar’s lyrics are equally expressive in both languages, with a noteworthy portrayal of Elizabeth’s romantic fantasies, making Vasundhara Das’ transparent interludes blend in beautifully with the main couple’s sweet talk.


What is left to be said of Chale Chalo, a classic that is capable of stirring the blood of any listener throughout the world, regardless of whether they understand Javed Akhtar’s otherwise brilliant lyrics? Humming, stomping, snapping, clapping, banging… even the cello and the dulcimer sound like percussions, chiming in to build up the Lagaan team spirit. The catchy song curiously seems to echo what the epic Lagaan film making experience must have been by reflecting the powerful magic of a joint belief in one goal, with A.R. Rahman himself giving this hymn its main voice.


The album suddenly moves into a softer note, mirroring Elizabeth’s prior declaration of love with a brief Waltz for a Romance. The track sounds exceptionally authentic, making us reminisce some of Hollywood’s most memorable Western classical and baroque-style film compositions.


The previous Western track gives way to its Indian counterpart as A.R. Rahman’s talent for devotional songs gives birth to the gem O Paalaanhare. Lata Mangeshkar is a brilliant choice for the song, given the purity of her voice. (The version of the song in the film includes Sadhana Sargam providing vocals for Gauri.) The bhajan builds up softly with a measured use of the tabla, cymbals and temple bells, ultimately falling into Udit Narayan’s soulful rendition of part of the Lagaan theme chorus. The moving melody elevates the soul in prayer, leading the listener to sympathize with the villagers’ plea.

The Lagaan main theme crowns this scintillating soundtrack with a perfect mix of grandeur and serenity… of East and West combined. I have no qualms in saying that I believe this track somehow captures the universal essence of music itself. Its brain stimulating melody, the combination of seemingly improbable instruments together in the same piece (sitar, cymbals and church organ, anyone?) nevertheless achieving amazing harmony... It is simply magnificent. R. Prassana’s spine tingling string arrangements deserve a special mention as they transport the listener to unprecedented heights. Anuradha Sriram’s voice gently brings us back to tranquility with her earthy and melodious hum, closing an absolutely monumental soundtrack.

The film Lagaan: Once upon a Time in India was certainly meant to become a landmark in Indian cinema. The challenge of composing an equally brilliant music was successfully achieved when the Mozart of Madras concocted this “sound feast”. Lagaan’s music contributed to make the film shine and vice versa, therefore both the film and its music are bound to continue gathering applause from viewers and listeners alike, regardless of their cultural and musical background. This timeless tour de force by A.R. Rahman and his outstanding musical team (a special mention to the late H. Sridhar, sound engineer, who worked not only on the soundtrack but on the film’s sound in general) may be put up there with the very best soundtracks of all time, even several years after its release.

Thank you deeply theBollywoodFan for creating this brilliant space and for allowing me the opportunity to contribute to it.