If retro styles are in, then it is certainly because we believe that, ‘Old is Gold.’
The sweet and simple melody of songs, meaningful interludes and the charisma of natural expressions in the olden times is a regaling experience. The look of sixties and seventies has a charm of its own.
We can get the movie tickets exactly from home. No more buying in black. The procedure of buying on the movie online progress still simple. They haven’t paid interest to user knowledge. Why wait at the counters in the queues at the last minute for the tickets…? Also the expediency of preparation and nervousness free visit to the theatre to calm down is a benefit.
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Within a short duration of two to three hours, the movies provide a look to see into the different shades of life in the most expressive way. Entertainment world without movies is like a body without heart and soul. Apart from pleasing us with the crispier and crunchier aspects of life, movies make us understand the complexities of life, as they are themselves the spitting image of various facets of life. That’s why the movie buffs make the best choice to download movies from the world of internet by utilizing the vast resources of web.
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To download movies is no more a niggling task, like it was a few years back. Nowadays, many websites are there that provide various services to relieve the process of downloading. The most beneficial out of those are subscription websites. Howbeit, these websites charge a little amount of money for their services but that’s negligible to the variety of facilities they provide. Yes, it simply means, you can download The switch Movie from subscription websites without any hassles.
A.R.Rahman began his career in 1991 composing ad jingles in a small studio near his home, called Panchathan Record Inn. In the year 1992, he showed some of his samples to Mani Ratnam, who was impressed gave the boy his first break. A.R. Rahman won the National Award for the best music for his first ever film Roja, a feat that was never achieved by any music composer before. AR Rahman has won national music awards four times, a record in itself-Minsaara Kanavu (Electric Dreams, Tamil) in 1997, Lagaan (Tax, Hindi) in 2002 and Kannathil Muthamittal (A Kiss on the Cheek, Tamil) in 2003) apart from Roja.
A.R.Rahman debuted in Bollywood with the zingy music for Rangeela(1993) that redefined sound and music for Bollywood. His debut in Bollywood achieved him Filmfare Award for music in Rangeela. A.R.Rahman’s string of Filmfare Awards in Bollywood are as under:
1994: R.D.Burman Music Debutant Award
1995: Rangeela
1998:Dil Se
1999: Taal
2001:Lagaan
2002: Saathiya
2002: The Legend of Bhagatsingh (Best Background score)
2004: Swades (Best Background score)
2006: Rang De Basanti
A.R. Rahman was also invited by the famous musical theater composer Andrew Lloyd Webber for his maiden stage production Bombay Dreams. AR Rahman has also won the Star Screen Award 2007 for his music in Guru. Apart from film, A.R.Rahman’s patriotic album Vande Mataram (1997) where he collaborated with Nusrat Fateh Ali Khan was widely appreciated. The publicity shy music composer also did an album for Jana Gana Mana(National Anthem) where leading exponents of Indian music have sung one line each.
Padmi Shri recipient A.R.Rahman’s next musical releases include Yuvraaj (starring Salman Khan and Katrina Kaif) and Ghajini(an Aamir Khan). Both films promise to have fantastic melodies and tunes, especially Yuvraaj, since it is based on music. Phew..so many achievement, the little man has certainly surged ahead to legendary status when it comes to music. Lot of music coming your way from the genius A.R.Rahman; till then stay tuned for his latest Jodhaa Akbar.
From animated adventures and Oscar winning films, to new takes on old stories; 2010 is packed full of blockbuster DVD releases to keep you entertained. Whether you are seeking edge of the seat action or simply want to have a laugh, you are guaranteed to find something that ticks all the boxes.
If you thought your family had issues, here’s a film with the mother of dysfunctional families.
Prakash Jha’s (Gangaajal, Apharan) latest socio-political drama Raajneeti is gargantuan in every sense of the word – enviable cast, grand sets and a runtime that tests your patience. It’s a full-on drama packed with powerful performances and a bucket load of plot twists but suffers from over-the-top grandeur and unnecessary subplots. Nonetheless, it’s a storm of a film with a solid plot (oh, how we’ve missed plot-driven films lately) and enough drama to keep you hooked from start to finish.
Jha wastes no time in laying out the characters and their issues right from the beginning. After all, with a principal cast of six and a bloated entourage of supporting characters, the film depends on the viewer to pay complete attention to who’s who and how they are all linked. The beginning is a little difficult to keep up with but it establishes well the web of love, hate and greed that only complicates as the film progresses. Essentially, the film is about an extended family – the Prataps – that runs a powerful political party – the Rashtrawadi Party.
When the revered party leader is paralyzed by a stroke, the family members begin to vie for the top spot. The power hungry son Veerendra (Manoj Bajpai) and his rival cousins Prithviraj (Arjun Rampal) and Samar (Ranbir Kapoor) thus become locked in a battle to control the party and eventually the state assembly. The battle between the brothers is spiced up by the party advisor Brij Gopal (Nana Patekar) and the kabaddi champion-turned-self-proclaimed Dalit hero Sooraj Kumar (Ajay Devgan). Finally there’s Indu, a feisty female for Samar’s distraction. With all the characters in place, the film commences a vindictive and bloody modern day telling of the Mahabharata with a dose of The Godfather thrown in for good measure.
The characterizations and performances are what drive the film. The numerous scenes of explosive interaction between the actors are particularly sumptuous. Just when you think you know a character, he/she completely surprises you with a revelation. Every character is gray and as the story progresses, their deeds get nasty and nastier. Ethics and principals are tossed aside as the brothers pull out all stops to destroy one another. However the dialogues become pretentious at times, where certain old Hindi lines sound like they were meant for the real Mahabharata.
The film fumbles in the second half, slowing down the momentum considerably. Samar’s love track with Sarah (Sarah Thompson) is completely unnecessary and does nothing for the plot whatsoever. Also, Samar’s rejection of Indu is obvious from their first scene together and did not require blatant interactions later where Samar has to hit her (and the viewer) over the head with his lack of interest in her. Taking these sequences out would have tightened the second half considerably and settled the fluctuations in mood that become evermore apparent. Jha and cinematographer Sachin K. Krishn capture the large rally scenes with finesse. However, the rest of the cinematography is largely uninspiring – the countless establishing shots of larger-than-life white mansions with shiny expensive black cars pulling up in front get repetitive and boring. Similarly, the interiors of the mansions look more like generic model homes rather than spaces where these characters live. In most cases, the actors manage to draw the attention away from the technical mediocrity.
The biggest achievement of Rajneeti and director Jha is the performances. Patekar’s wise and calming presence as Brij Gopal steals the show. He is effortless and thoroughly enjoyable in every scene. Bajpai proves once again that he is a natural at this game. Devgan does the best his role could allow. In most scenes, he is relegated to being Bajpai’s sidekick, which is rather disappointing considering how much more he could have brought to the film with a stronger role. Naseeruddin Shah, in a brief role in the opening flashback, is effective. Rampal is motivated and delivers one of his best performances. Kaif is largely ignored until the latter parts of the film where she suddenly becomes useful to the goings-on. Kapoor’s restrained performance wavers awkwardly between stone cold and silent cunning. Regardless, he manages to stand tall among the seasoned actors in this film.
The epic scale of Raajneeti is justified by a bombardment of good ol’ drama with twists and turns all the way. However, all of that aside, the film teaches us a few things: impatient and self-destructive youth are a threat to contemporary politics; no one (absolutely no one) is “good,” which makes for unnerving viewing when you can’t root for anyone; women are mere pawns in this still very male-centric game; only in India can you find hundreds of extras to fill every other scene; and finally none of the characters have heard of using protection since every sexual encounter in the film leads to pregnancy. Raajneeti has its fair share of flaws but after enduring the two hours and forty minute slugfest, you do feel a sense of satisfaction in the return of cinema with a purpose. Nepotistic politics, a very loose interpretation of democracy, and bloodthirsty greed – what more do you want from filmy entertainment? This one’s worth a watch.
The comparisons are obvious in the film industry even if the concerned movies are remotely attached. So, the comparison between My Name Is Khan and Three Idiots should not surprise us, more so there is a healthy competition among lead actors of the two films.
Read more on My Name is Khan and 3 Idiots Movie Sucess 2010…
Watching TV is one big part of American life. We watch TV to get important information like news and current events; we watch TV to entertain ourselves and we watch TV as a form of relaxation. Many American families are highly dependent on watching television that is why there are many TV shows that have become part of daily life and, thus, have become household names.
The complete history of television, from its creation to the latest trends in the modern tv shows. A brief list of benefits, ill-effects and consequences of watching too much TV daily, for kids and adults.
Read more on The History Of Television: The New Media That Changed Our Lives…