Chez Moi

‘Chinna Chinna Aasai’ sang Minmini almost 15 years back, heralding a new era in Indian music. The world sat up to take notice of this new sound. A brand new star was born.

A R Rahman burst through like a breath of fresh air with Mani Ratnam’s Roja and changed the way Tamil and slowly rest of India’s music sounded. Ilaiyaraja had ruled the South till then as the undisputed king among the composers. There was none to beat him, no one even to come near him. If the ‘maestro’ decided to do the score for your movie, you can rest easy in the knowledge that you are going to have a hit on your hands.

Raja’s sounds were mostly grounded in a rural background – the harmonium famously was at the composer’s fingertips at any given time. That doesn’t mean that his songs were only of the typical folk song variety. His music for Mani Ratnam’s hit ‘Dalapathi’ was phenomenal. He has composed some of Tamil industry’s most famous songs – ‘Ilamai ennum poongatru’, ‘Idhu oru pon maalai pozhudhu’, ‘Raja raja sozhan’, to name a few.

Most of his contemporaries also went along the same route – M S Viswanathan, Deva (who was more like a poor man’s Raja), Gangai Amaran etc. Ilaiyaraja did not really have any real competition – he ruled alone and he ruled long. Till a 25 year old genius burst into the scene.

A slight difference of opinion between Mani Ratnam and his favourite composer urged him to look for a composer elsewhere, latched onto the young Rahman who was busy composing ad jingles and the rest, as they say, is history. His choice of instruments, the arrangements he used, the different tones and tunes he produced – everything was as different from the prevalent music of the day as the proverbial chalk is from cheese. The public lapped it up eagerly and were soon hungry for more.

He followed Roja with some memorable songs from Thiruda Thiruda, Gentleman, Puzhiya Mugam, May Maadam, Karuthamma, Duet,Indira, Bombay, Rangeela and more recently, Taal, Lagaan, Boys Rang De Basanti and Guru. He was the first ever music composer to win the coveted Rajat Kamal Award at the National Film Awards for his debut effort. He has gone on to win this award thrice more, for Minsaara Kanavu, Lagaan and Kannathil Muthamittal - the most by any music director.

The awards he has won, the global recognition he has achieved, the wide range of projects he’s been a part of is too many to list. More than anything, what he has single-handedly done is changed Indian background music forever. Till he came onto the scene, filmi music was primarily used to give the audience a break from the onscreen action. With his advent, that changed completely – a movie’s soundtrack became as important as the movie itself. Cassette sales soared and became an indication of how the movie would fare at the box-office.

Above all, Rahman introduced the Indian audience to a brand new, urban sound. Till then, most of our music was of the folksy, villagey type and the disco numbers all sounded a bit samey. Rahman blew that whole scene out of the water and brought in new sounds – techno, electric, big orchestra arrangements that sounded like nothing like what we had heard before.

With Alaipayudhey, he introduced the audience to the new, sexed-up version of the normally staid Hindu wedding mantras. When he sang ‘Mangalyam’, blended it with those awesome beats and merged it so beautifully with the theme song Enrendrum punnagai - the effect was a thing of sheer beauty. For the first time ever, it it became cool to sing mantras!

But sounding quintessentially urban didn’t mean that the man couldn’t do villagey music. He sure could and did, in his own inimitable style and the resultant sound is normally something we’ve never heard before. I am, of course, talking of Then merkku paruva-k-kaatru from Karuthamma here. Even Kummi Adi is a typical village number, Rahmanified as it is!

I shall not be remiss in not mentioning his foray into Punjabi bhangra. Though he has said a lot of times that he felt comfortable with Tamil music, as he did not understand Hindi, he has composed some absolute gems for films like Rangeela, Taal, Bombay, Dil Se and more recently Rang de Basanti. The title song of RDB, sung by Daler Mehendi sounded absolutely fresh and completely different from the usual bhagra songs one often hears. Of course I do not listen to bhangra music much but to me, they always sounded the same - till ARR and the Ting ling ling ling.

Meanwhile, Rahman’s assistants branched off on their own and took the new Rahmanish sounds with them whilst some of the new ones on the horizon were inspired by it and started emulating the same. Harris Jayaraj (Minnale, Kaakha Kaakha, Vettaiyadu Vilaiyadu), Praveen, Vidyasagar, Bharadwaj, Devi Sri Prasad were all part of this new brigade. Though all of them have gone on to make some great music scores, there is none to touch ARR, none to match his attention to detail.

The consummate professional that he is, he clearly differentiates between what is played on screen and what you slip into your CD player, unlike the other music directors, whose screen music is no different from the on they release on CD or tape. This makes his music sound that much crisper when you listen to the audio whilst the video has a special extra bit going for it. A classic example of this is his recent Kummi Adi from Sillunu Oru Kaadal - while the CD version starts with a big bang, in the movie there is a slow, folksy interlude before the actual song.

Rahman also has a special music interlude for any crunch / special situations in the plot. Oftentimes, this would be the chorus part of the main romantic song of the movie. In the aforementioned movie, the main part of the song Munbe Vaa was the background vocal for the Gautham – Aishu wedding scene, the same song that they sing during happier times.

These might seem insignificant but attention to little details like this is what sets ARR apart. Devi Sri Prasad, in his latest hit Bommarillu would have done better to have picked up these tips from the master and utilised them in his song Laloo Darvaja. Whilst having Jayasudha sing the Krishna bhajan-type number makes sense in the movie and adds to the plot, it slows down the tempo of the song in the CD and breaks up the whole rhythm.

ARR is also the king when it comes to the quality of his music mixes. His music has a slick feel to it that, despite his detractors’ pronouncement that his tunes would never stand the test of time, have nonetheless stayed the same through the years. His old hits still sound just as melodious as they did the day they came out. Though Rahman’s music take a bit of getting used to, they do grow on you after repeated listens and become impossible to move away from.

The man is not without his particular quirks – one of the most famous ones being his penchant to record at night. He is famous for doing the best part of his recording with the moon; his singers are all well used to getting on the car in the dead of the night and finishing up at the break of dawn. Recently, though, he announced he was going to try to change that habit and carry on his recording work at daytime.
Another of his famous peculiarities is his wish to keep things natural – he is rather taken up by the ‘rawness’ of a voice. To that extent, he used to make singers out of people with no formal music training whatsoever, depending more on their raw tone of their voice to carry the tune through.

ARR has come a long way from his young Dileep days, when he was struggling to make ends meet. Today, he is one of the most famous music composers in the world. He has taken his music far and beyond the country’s shores – collaborating with Sir Andrew Lloyd Webber for Bombay Dreams, working on the Chinese film Warriors of Heaven and Earth and even composing the score for Lord of the Rings stage production. He has done all this and more; but to me, he will always remain the man who changed Indian music completely, forever.

His music is everything – slick, beautiful, sublime and timeless. Long may it resonate around the world.

Oh how the mighty have fallen! A R Murugadoss, who gave us the fantastic Ghajini last year, is back this year with a bucket of old tripe called Stalin. I, for one, am convinced that the only reason good folks around the globe are putting down their hard-earned money is because it has the ‘mega star’ Chiranjeevi in it. From Chiru’s point of view, he delivers a decent message, possibly laying the groundwork for his political career but the movie is just one big washout.

The story is nothing new - the hero is this champion do-gooder, an Indian Army Major, who has been discharged due to some mysterious reasons. His hankering to spread goodwill amongst his fellowmen comes to fruition with his pyramid-scheme plan of helping three strangers, who help three others and there on, it spreads (members of GoldQuest take note) to include the general population. He thus helps a mum get an infant back, who in turn, helps somebody else and the chain carries on, and on, till the climax when one of the benefactors of said scheme ends up helping Chiru make an escape from the villain’s henchmen. But the way it has been portrayed, the plan progresses rather one-dimensionally, instead of the envisaged pyramid format.

In the course of the day, he comes across a semi-thug, whose FIL is the real thug (Prakash Raj in one of his most pathetic roles) who want to thrash the life out of him. Helpfully enters Trisha into his life, to provide the necessary leverage for the villain’s goondas to collar her and start yet another fight with the hero.

The movie continues along the same vein, a few song and dance routines in far-flung exotic locales interspersed with action sequences, which finally end in a climax sequence, where the hero is fighting for his life in hospital, after fighting off Prakash Raj’s goons as well as the assorted junta who had gathered around to watch the shooting but who were roped in when the supply of baddies ran out, with the doctors trying to patch him up. The docs cave in half-way as an old Army injury (the real reason why the man got the boot - that it was a medical one and as such, might be of slight importance to him totally escapes everyone’s notice) threatens to get worse but the hero’s brother shouts at and pleads with the medico in turns, who then does an about turn and starts where he left off and hey presto! the man wakes up to thank the auto fella who drove the vehicle that helped him escape the baddies who were chasing him down the highway who, just happened to be one who benefited from the ‘help 3 people pyramid scheme’ hatched by said hero, who is thrilled to bits to hear the success of his plan. Phew! Of course, by now, most of Andhra Pradesh is camped outside the hospital, praying for the hero’s recovery.

**Yawn**

How many more times will we be served this same old, left over tripe, glossed over with just enough glaze to pass off as a new movie? I have had it. This movie has so many holes in it that it can put any slice of Swiss cheese to shame. Granted, helping others is a good concept and post-Munnabhai, a lot of movies seem to be going this route but why the rest of the palaver to deliver this simple message?

There is none of the professionalism the director exhibited in his previous venture. The movie comes across as a B-grade imitation affair which is real sad, really. Take, for example, the scene where the hero puts his ‘help three strangers’ plan into action. The first person he helps is a mum, who has left her baby in her car (helpfully leaving the keys on the door) while she goes to the pharmacy. The hero and his sis happen to walk past the car, even as the baby starts to wail, open the car (!), take the baby out and take it around the shops, asking if the shopkeepers had seen the baby’s mother (!!). By now, the mum has got back to the car, which unfortunately has been towed by the traffic police (!!!). In a state, she gets to the impound lot and gets to the car instantly (!!!!) but of course, there isn’t a baby inside the car. She starts hitting the police asking everyone where’s her baby. No one helpfully points out to her then or ever, what an idiot she was to leave her baby all alone in the car, along with the keys, whilst she went shopping.

The hero has of course, rescued the infant and has left his details with the R.T.O office, who trace the car and give him the owner’s details. Hero takes baby to its home and rejoins its with its mum, first imploring with the happy dad to help three strangers. This whole parody had me in stitches, I tell you. Where in our country do we get such a wonderous group of people, pray tell me, that turn out such examples of instant service? And who are we talking about here - the traffic police, the impound lot, the blessed RTO office, for chrissake! In which opiate dream did they become so?

There are loads more rib-tickling moments of similar nature, the fight sequences, for instance. The stunt-director seems to have been inspired by Hot Shots: Part Deux - thugs literally fling themselves at Chiru from all directions who simply spins about and poof! they fall down like dominoes! This is the way every single fight is choreographed baddie runs headlong into hero, only to go flying out and ends up on his face; baddie 2 follows suit next second and so on the routine continues till the supply of baddies is exhausted.

Trisha seems to be there in the film purely for decorative purposes. But if she gets to take home a cool Rs 25 lakhs (rumoured to be much more) for wearing skimpy outfits and shaking a leg in exotic beaches, then hey, I’m sure she’d sign on the dotted line a few more times. Though I am sure she can swim passably, she has to work on the rest of it. Being shown as a champion swimmer is one thing, but jumping into water to start off a race with all the finesse of a sack of potatoes is another. Oh and the fact that she looks and is, young enough to be Chiru’s daughter shall not be mentioned, ever!

Khushboo fits the part of big sis comfortably and does justice to her role, as does Sharadha, who plays their mum. Sunil in a light-hearted role with some serious overtones comes up trumps. The rest of the cast is there just to add strength to the numbers. The cameraman’s awe of the mega star is visible in every frame as the camera simply dances away merrily, giving everyone watching sore eyes. The soundtrack is instantly forgettable; none of the songs even registered in my mind even while I was watching the film.

Strictly for die-hard Chiru fans ONLY. Rest of you can stay at home, relax with your favourite HotShots DVD.

In the past few weeks, quite a few people have written something about my hometown be it their brush with the humidity and the pollution or how diametrically opposite it is to the North Indian cities, such as Delhi. Reading about these have made me quite home sick for my lovely city and I thought I shall put pen to paper and write about what makes me love it so.

Chennai, or Madras as it was known then and familiar to me today, has always been the perfect amalgamation of the old and the new. It is a city, where the kancheevaram sarees and old maamis live hand-in-hand with the Mocha coffee swigging, tank topped teeny-bopper. It is a city where the December Music Season is the highlight of the year’s cultural calender. But it is also the city where multi-stored malls and ginormous technology parks are coming up at an alarming pace. Kapaleeshwarar Temple still holds sway while Dublin continues to rock the party, come Saturday night.

The old and the new have meshed together so well that one barely leaves a dent on another. The Geetha cafes and Saravana Bhavan clientele still continue going about their daily toils, the latest opening of Baristas notwithstanding. Pizza Hut still has a mile long seating queue outside its premises most evenings and the latest branch of Madurai Idli Kadai just a little over a mile away doesn’t put any pro-Italianos off their stride.

It is also a city of crazy traffic and diabolical drivers. Having a countdown at the traffic lights seems to have made these speed demons crazier than before, what with all the revving that happens even when the timer has a good 20 seconds to go! Latest model Honda Civics aside, the potholes the latest bout of rains have gifted to the repaved roads will give your bones a workout no Shiatsu massage ever will.

It is also the city where the humidity hits you like a wet blanket the minute you set foot in. The sweat running in rivulets, combining with the dust and grime will make you look rather like an Indian brave by the end of the day. If you are not used to it, it may well make you weep!

Though Tamil is the language of the state and the DMK fervour had made sure that there is a bit of ziddi in speaking the language, the people are not averse to learning a new language. Proof of this would be the hugely popular language programmes run by the Alliance Francaise and Max Muller Bhavan, which teach French and German, respectively. But this trait is not to be found solely amongst the younger generation. My old vegetable vendor used to speak in highly fractured but extremely serviceable Hindi to one of my neighbours, who had moved to Chennai from Bombay a few years back. Though the lady had been a resident of the city for about 3 years then, she hadn’t picked up a word of the local language while the wizened vendor knew enough to sell her bhindi and baingan on demand!

Chennai, the city, is split into many zones, depending on its population. Accordlingly, in Sowkarpet, you will find Sindhis and Marwaris whilst in Parrys Corner,you will find lot more Telugus than Tamils. (Aside: Though the Sindhis and Marwaris have settled in the city and generations of their families have been calling Chennai home, none of them could speak a word of Tamil amongst them. This was a highly irritating factor during my college days. )
Eastern Madras is full of the brahmins whilst the South has folks connected to tinsel-town.

Though the city is now expanding in all directions at break neck speed and once shunned areas such as Velachery and Virugambakkam are now extremely sought after, the old demarkations still exist. The new perimeters haven’t erased the old they have simply, in typical Chennai fashion, become a part of the fabric.

It is also the city where education is supreme. Every year, during admission time, you will find anxious mums and dads queuing outside the city’s top schools, just to get an application form. The streets will be bereft of children come evening, as they will all be busy at the abacus classes, trying to master that ancient art, before taking off to the Bharatnatyam or singing classes. It is the same city where John Britto and Swingers dance schools flourish, helping wannabe Prabhu Devas turn their dreams into reality.

This is also the city where NIFT sits comfortably next to Co-Optex showroom. The city where the latest fashion trend is a saree with a pocket for one’s cell phone. The city where heels come with butti patterns to match the pallus. The city where hipsters jeans are worn with a zari top. This is the city where the paati’s Annamacharya keertans jostle for space with grand daughter’s James Blunt.

That is the magic of my city a city where the roads are full of potholes, the traffic snarls legendary, the water problem one of epic proportions, where sabhas are as important as the multiplexes but one in which a person can go for a spot of masala dosa and milkshake at mdnight, on the way back from a disco or a pizza and fresh juice for high tea, before joining the pattu saree maamis at Music Academy for a K J Yesudas kutcheri. A city where aalaapana and Air Nikes exist comfortably.

This is Madras, nalla Madras. We are like this only, saar!

Every year, in November, this spotted, yellow teddy bear with a patch over one eye makes an appearance in the UK. He goes by the name of Pudsey and is the mascot of the hugely popular fundraising event known as Children In Need. As its slogan goes, every penny raised will go to the needy children of UK.

Members of the public take up the actual fundraising. High Streets might be littered with people with the collecting pails. Teens wearing wacky outfits and standing in the cold with a bucket in hand are a sight that will be seen all over the country on that day. If your town is really lucky, Pudsey might even put in an appearance!

The actual scale of this has to be seen to be believed. I am not talking about a few kids here and there trying to collect a few pennies. Huge organisations donate large sums of money. There are events held locally, proceeds of which go towards Children in Need. Most offices have a ‘come dressed in your regular clothes’ day, whereby employees pay £1 for the privilege.

Schools tend to take it a step further, try and make a fun event of it, so it is enjoyable for the children as well. Little P’s school wanted me to send in a teddy bear or a stuffed toy with him to school today. Which is why, the good folks of Brentwood saw me lugging a life-size teddy bear up the cardiac hill that is Queen Street. I tried telling him that taking the teeniest bear will give him an edge over the other kids when he takes part in the ‘My teddy bear and me’ race. Would he listen? Nah!

He could also go to school, dressed in his jeans and tee, paying a pound first, of course. The Ursuline down the road had given the choice to the girls – they could just dress up in pink and have a fun time, letting their imagination run wild. As I was huffing and puffing my way past, I was swiftly overtaken by this huge pink bunny and a spangly outfitted fairy. Looking at her skimpy outfit made me break out in goose pimples!

The grand finale to the day’s fundraising drive is the live show that takes place at the BBC studios in London and in other big cities like Cardiff, Manchester, Liverpool, Edinburgh and Belfast. Pop acts, cast of local mega serials and other assorted celebs shake a leg or belt out a song, all in the name of charity. The lineup is usually impressive – popular girl band Girls Aloud opened the night’s proceedings in London followed by McFly, Ronan Keating, former Spice Girl Emma Bunton who pirouetted on stage, along with her other Strictly Come Dancing mates, putting their newly learnt dancing skills on display.

Cast members of Coronation Street, Holby City and Hollyoacks also donned the greasepaint and tights to perform live on stage as well as the cast of West End production, Sound of Music.
Terry Wogan was at the helm this year too, ably aided by Natasha Kaplinski and Fearne Cotton. Together they urged the viewing public to dig deep and donate. Throughout the show, hundreds of people were in the studio, manning the special Children In Need telephone lines and those willing to part with their cash could ring the line and pledge the money. The amount of money they manage to raise every year is staggering. Last year, it was around £18 million pounds.

What makes the people of Britian part with so much money year after year and take part in this event so enthusiastically? I have thought long and hard about it and all I can say is, the tag line ‘every penny goes to a needy child in the UK’ is the key. After the Oxfams and other assorted charity outfits that collect money for far-flung places, a homegrown one, for their own suffereing children, strikes a powerful chord in the people’’ hearts, making them give and give, year after year after year. And give they did, to the tune of £18,300,392 on the fundraising night last Friday.

Well, charity sure began – and ended – at home!

Mani Ratnam’s winter release GURU, with Abishek Bachchan at the helm, is this year’s most awaited film. The last Mani Ratnam movie to come out was Ayutha Ezhuthu two years back. He made India sit up and take notice of the junior Bachchan as an artist of note. Now he is back with a straight Hindi film, which is widely reported to be based on the life of the late Dhirubhai Ambani.

Mani Ratnam and A R Rahman have always been a winning combo, since their Roja days. Together, they have created absolute magic and it is no wonder that expectations are sky-high with the upcoming release. Mani Ratnam has pulled off a casting coup of sorts, with Aishwarya Rai, Madhavan, Vidya Balan and Mithun Chakraborthy sharing stage with Abhishek. Though the cast is of no importance whatsoever when the director is Mani, the media’s interest has been more than piqued, imagining these artists together, in one movie.

The audio for GURU was released in Mumbai earlier amidst much fanfare. There are seven songs on the album and one can see more than the odd interesting name amongst the singers. For instance, Bappi Lahiri is singing a Rahman song for the first time ever. The song, Ek Lo Ek Muft is quite unlike anything Bappi has sung till now. It is a typical Rahman number, which in turns means that Bappi is trying to do something completely different to what he has done before. For that reason, I wonder how much acceptance this song would get amongst the singer’s fans.

Ey Hairathe first grabbed my heart when I downloaded the ringtune from the movie’s website. It had an odd melancholy to it that reminded me of Bombay. Hariharan’s voice, as he sings the ghazal-like verses is mesmerising.

The song, Tere Bina is already proving to be a rage among the fans – every website carrying the music review has raved about this number. After listening to it a couple of times, I can understand why. It is ARR at his best and for me, one of the best songs of the year. Chinmayee’s voice blends really well with Rahman’s and the result is a melodious, classical number that will keep resonating in your ears long after the CD has finished playing.

Barso Re, sung by Shreya Ghoshal, is a rain song. I haven’t heard a good rain song in years and now this one has come to end the drought. Like a typical rain song, this is full of pep and energy. Like Tanvi in Sillunu Oru Kaadal, ARR has made the singer change her voice modulation to suit the mood of the song and I have to say, this time, it was worked perfectly. For Shreya herself, this song is sure to bring numerous accolades.

Jaage Hain, with Chitra getting together with Rahman, is another decent track. Most of the numbers on this album are of the slow variety and this one is no exception. But it is great, nonetheless, with the Madras Chorale Group joining the two main singers to do the backing vocals. The mood of the song is that of a big stage, orchestra production and the singers do full justice to it. The vocals are amazing and Chitra sounds absolutely fantastic. A class number, this one.

To me, the best song in the collection is Mayya Mayya. Sung by Canadian singer Mayyam Toller and Chinmayee, this is a sultry number, with the singers’ voice blending together beautifully. The song is sure to raise the pressure of any red blooded-male (or female, why be sexist?!) up a couple of notches. Another number with Middle East overtones, this one is a sure winner. This song is the one that is rumoured to have been picturised on Mallika Sherawat.

Baazi Laga, by Udit Narayan, Bhargavee, Madhushree and Swetha is one number I did not like. It does not sound like a Rahman composition to me, and the whole arrangement did not jive. Gambling songs are popular in the Indian movie scenario, one of my most memorable ones being Aadi paaru mangaathaa from the movie May Maadham. I cannot be the only one who feels disappointed with this one.

The album, on the whole, has mixed offerings – some might strike a chord in your heart instantly while some you might dislike so much you want to skip to the next track. But in my opinion, this is pure ARR – most of his songs take a bit of getting used to before they grow on you. Give it a couple of listens and then judge the songs – you just might love them!