I went for this concert yesterday evening, at the Eastern Michigan University convocation center. AR Rahman (as with many other people) is my favorite Indian music composer from the present times. I was curious about the concert, knowing that he wasn't on a big tour with a lot of Bollywood personalities, but rather performing with 150 all stars.
The all stars, apparently, were students from EMU and from Miami University, Ohio. They had learned and reinterpreted Rahman's music in their own style. It was a refreshing look at Rahman's music, performed in a style alien to Bollywood.
Choir singers, a four-violin and cello string section, many drums and cymbals, a tabla, flute and keyboards (Rahman) formed the orchestra, conducted by Ethan Perry. The concert began with a very powerful rendition of "Ramta Jogi" and "Taal Se Taal Milaa" from Taal. The mostly Indian audience was a little surprised by the multiracial group, singing in perfect Hindi. Their voices were strong, and a little different in key from the originals.
The concert proceeded on an interesting pattern - live music and choir-style singing of Rahman's songs, interspersed with "karaoke" of Rahman's recorded music with live singing by Rahman himself, Vasundhara Das, and a couple of young singers from the choir. It even included a dance performance that used Rahman's "Rang De" from a CD! On the whole, an odd mix of performances!
The choice of songs in each particular style was very good. The choir performed some songs obviously suited to their style (Veerapandi Kottayilae, Thee Thee, and a fabulous rendition of Zikr), Rahman and Vasundhara Das crooned/ lip-synced some songs (Khalbali, Dil Se Re, Maa Tujhe Salaam for Rahman; Shakalaka Baby, Ik Onkar, Yaaro Yaarodi for Vasundhara Das). The young white American who performed "Rang De Basanti" was fabulous - with his "twanged" punjabi; the group of girls who performed "Paathshaalaa" fit the rebellious mood of the songs well.
On the whole, an enjoyable experience.
Some notes from the concert
- Rahman seemed to be enjoying himself, listening to the choir perform his songs in a new style. He appeared to be intrigued by the idea, and impressed by the results.
- After almost every song, a different announcer came on stage and heaped lavish praise on Rahman - talk about beating your own drum (and also, "preaching to the choir!")
- The EMU president made a speech welcoming Rahman and his music to the institution. After the intermission, Rahman was handed a key to the city of Ypsilanti by the city mayor. Quite a honor!
- It was announced that Rahman is funding and providing other support for the first "Conservatory for Western Classical Music" in India, to be set up in Chennai.
- Indians in America don't seem to behave very differently from those back home. There were more catcalls, whistles, rude gestures, and other kinds of bad behavior than any other event I have attended in America. I wonder what it is that makes us such bad spectators.
- The global nature of music was made amply obvious. As the choir singers of many backgrounds twisted their tongues to get the Tamil and Hindi sounds right, I thought of the quite unreal scene in front of me. I have witnessed Western Classical concerts with a multiracial orchestra. I hadn't imagined seeing such a performance of popular hindi music. It was inspiring to see that so many young people of diverse backgrounds found this music enjoyable, and could perform it so well! Seems like great days are ahead in terms of musical collaboration around the world!
April 17, 2006
April 11, 2006
Hazaaron Khwaishen Aisi
One of the most acclaimed Indian movies of 2005. I saw "Hazaaron... " on VCD. It is truly a different movie by most hindi movie standards. It stands out in many aspects, most importantly the top-notch performances in leading roles by Kay Kay Menon (who has recently begun to receive the attention his talent and screen presence demand), Shiny Ahuja (supremely confident in a terrific role) and Chitrangda Singh (wow! she sets the screen on fire!), and small but effective parts by other actors.
Hazaaron is set in the late 1960s through 1970s period in various North Indian locations. The director, Sudhir Mishra, truly brings this period to life. The language, clothes, and setting all seem very real. Neither is there any attempt to "glamorize" the past, as seen in the lavish sets in melodramas such as "Devdas" or "Parineeta" nor the big scale of the unknown past of 1857 as seen in "Mangal Pandey". The music, costumes, dialogue and situations are all straight out of the 1970s. More than anything else, the film succeeds in capturing the India of 1970s - full of uncertainty, youthful energy, and idealism.
The film is a series of really quick scenes - the story moves very fast, from Meerut to Delhi to rural Bihar, and from the late 1960s to the later period of emergency rule and naxalite movement. The quick cuts, and lack of "obvious" dialogue leaves a lot of room for interpretation, a valuable characteristic for a movie such as this. It is highly entertaining and provocative. Through each of the lead characters, and the different directions their intertwined lives take, we see various forces at work on the minds of young people in that period.
Hazaaron succeeds at two levels - in telling the story of its characters and in telling the story of that period. It is a classic love story, with true to life characters - each moving to their own rhythms, each dreaming their own dreams. This story is set against the backdrop of a nation in a period of turmoil. I was impressed by how the movie conveyed the essence of each character - how their thoughts and motivation leads to actions that may seem irrational to an outsider.
There are three central human characters in the story. Siddharth, Vikram and Geeta. They are all college students in an unnamed Delhi college.
The idealist Siddharth, a rich father's son, moved by leftist thought and the extreme divide amongst the haves and have-nots, decides to leave the pleasures of the city and his born with a silver spoon life for a stint in rural Bihar, joining similarly motivated young people in the naxalite movement. His revolutionary, non-compliant nature is conveyed through very simple things. He calls his father by the name Judgesaab, in a firm refusal of the personal relationship , preferring to stress the class divide between the masses of poor and the very few rich. In spite of all his revolutionary spirit, he cannot give up his love for Geeta, a college sweetheart, herself conflicted in many ways.
The pragmatic, go-getter Vikram, the son of a Gandhian is skeptical of Siddharth and his Marxist friends. He has keenly observed the corrupt bureucracy, sycophancy, and the way the world works. He believes in working for his own upliftment, whichever way possible. He succeeds in almost anything he tries - property deals, brokering agreements between government and businesses, and keeping politicians appeased. A true lobbyist, broker, a man seemingly with no ideals but his own gain. Yet, he is defeated in many ways - the idealistic Geeta, whom he loves, is in love with Siddharth; his Gandhian father, for whom he cares refuses his help, choosing to go to jail during the emergency. No matter how much money or power he earns, he cannot win the respect or love of those that matter to him.
And Geeta. She is torn between her love for Siddharth and a sincere desire to do something good, and her middle class fear or pragmatism on the other. Geeta is unsure of what her dreams really are. She drifts, she searches, she loses and then she wins. Geeta is the most fascinating character of the movie.
As the characters progress towards their future, we see India through their eyes. Geeta is most likely the character viewers will identify with - the many forces pulling her in many directions, all at once, a thousand desires unfulfilled. Yet, while the outwardly strong Siddharth and Vikram discover their failings, Geeta finds her strength. Many missteps along the way, but by the end of the story, Geeta is firmly set along a path that I believe will be hers throughout life. The changes are remarkable and very moving.
A truly amazing film, on many levels. I could probably write hazaaron more words, and yet not say enough!
Hazaaron is set in the late 1960s through 1970s period in various North Indian locations. The director, Sudhir Mishra, truly brings this period to life. The language, clothes, and setting all seem very real. Neither is there any attempt to "glamorize" the past, as seen in the lavish sets in melodramas such as "Devdas" or "Parineeta" nor the big scale of the unknown past of 1857 as seen in "Mangal Pandey". The music, costumes, dialogue and situations are all straight out of the 1970s. More than anything else, the film succeeds in capturing the India of 1970s - full of uncertainty, youthful energy, and idealism.
The film is a series of really quick scenes - the story moves very fast, from Meerut to Delhi to rural Bihar, and from the late 1960s to the later period of emergency rule and naxalite movement. The quick cuts, and lack of "obvious" dialogue leaves a lot of room for interpretation, a valuable characteristic for a movie such as this. It is highly entertaining and provocative. Through each of the lead characters, and the different directions their intertwined lives take, we see various forces at work on the minds of young people in that period.
Hazaaron succeeds at two levels - in telling the story of its characters and in telling the story of that period. It is a classic love story, with true to life characters - each moving to their own rhythms, each dreaming their own dreams. This story is set against the backdrop of a nation in a period of turmoil. I was impressed by how the movie conveyed the essence of each character - how their thoughts and motivation leads to actions that may seem irrational to an outsider.
There are three central human characters in the story. Siddharth, Vikram and Geeta. They are all college students in an unnamed Delhi college.
The idealist Siddharth, a rich father's son, moved by leftist thought and the extreme divide amongst the haves and have-nots, decides to leave the pleasures of the city and his born with a silver spoon life for a stint in rural Bihar, joining similarly motivated young people in the naxalite movement. His revolutionary, non-compliant nature is conveyed through very simple things. He calls his father by the name Judgesaab, in a firm refusal of the personal relationship , preferring to stress the class divide between the masses of poor and the very few rich. In spite of all his revolutionary spirit, he cannot give up his love for Geeta, a college sweetheart, herself conflicted in many ways.
The pragmatic, go-getter Vikram, the son of a Gandhian is skeptical of Siddharth and his Marxist friends. He has keenly observed the corrupt bureucracy, sycophancy, and the way the world works. He believes in working for his own upliftment, whichever way possible. He succeeds in almost anything he tries - property deals, brokering agreements between government and businesses, and keeping politicians appeased. A true lobbyist, broker, a man seemingly with no ideals but his own gain. Yet, he is defeated in many ways - the idealistic Geeta, whom he loves, is in love with Siddharth; his Gandhian father, for whom he cares refuses his help, choosing to go to jail during the emergency. No matter how much money or power he earns, he cannot win the respect or love of those that matter to him.
And Geeta. She is torn between her love for Siddharth and a sincere desire to do something good, and her middle class fear or pragmatism on the other. Geeta is unsure of what her dreams really are. She drifts, she searches, she loses and then she wins. Geeta is the most fascinating character of the movie.
As the characters progress towards their future, we see India through their eyes. Geeta is most likely the character viewers will identify with - the many forces pulling her in many directions, all at once, a thousand desires unfulfilled. Yet, while the outwardly strong Siddharth and Vikram discover their failings, Geeta finds her strength. Many missteps along the way, but by the end of the story, Geeta is firmly set along a path that I believe will be hers throughout life. The changes are remarkable and very moving.
A truly amazing film, on many levels. I could probably write hazaaron more words, and yet not say enough!
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