The New Trailer of The Dark Knight

The New Dark Knight Trailer!

Source: Superhero Hype!

May 4, 2008

Warner Bros. Pictures has brought online the new trailer for Christopher Nolan’s The Dark Knight, hitting conventional theaters and IMAX on July 18. The Batman Begins follow-up stars Christian Bale, Heath Ledger, Aaron Eckhart, Maggie Gyllenhaal, Gary Oldman, Michael Caine and Morgan Freeman.

In the film, Batman sets out to destroy organized crime in Gotham for good with the help of Lieutenant Jim Gordon (Oldman) and District Attorney Harvey Dent (Eckhart). The triumvirate proves to be effective, but they soon find themselves prey to a rising criminal mastermind known as the Joker (Ledger), who thrusts Gotham into anarchy and forces the Dark Knight ever closer to crossing the fine line between hero and vigilante.

You can watch the trailer in High Definition QuickTime and Flash format on this website here!

Catch The New Dark Knight Trailer Right Here on Tapori’s Area

Shaurya Movie Review by Taran Adarsh

Let’s clear a misconception before we get down to reviewing SHAURYA. It’s not a war film. It’s not jingoistic. It doesn’t spew venom on the neighboring country. It doesn’t show mutilated bodies or blood-soaked faces and limbs.Sure, SHAURYA has the backdrop of the armed forces. But it’s about a court martial. It’s about two friends, who’re pitched against each other in a courtroom. The ‘culprit’, in turn, doesn’t want to defend himself and remains a mute spectator for reasons best known to him.

SHAURYA is a serious film and raises a serious issue in the penultimate 20 minutes. And that’s where it scores. Director Samar Khan gradually builds up the tension and when it explodes in the finale, it leaves you stunned and speechless. Most importantly, it makes you uncomfortable… perhaps, that’s one of the reasons why it succeeds.

SHAURYA is about the common man, but as a cinematic experience, it’s more for the discerning viewer looking for a hatke theme, thirsting for a story in those 2 hours. Most importantly, it does justice to the tagline – ‘It takes courage to make right… right’.

Captain Javed Khan [Deepak Dobriyal] is charged with mutiny, treason and killing a fellow officer. Even when he is held for court martial, he refuses to speak in his defense as the secret he holds is too powerful for the establishment to handle. Assigned for this task are Sid [Rahul Bose] and Akash [Jaaved Jaaferi], two best friends, lawyers and very ambitious individuals who have contrasting views on life.

Nevertheless, this one case changes their lives forever. The case takes them to Srinagar. While Akash, for whom winning the case matters the most, follows the blueprint, Sid discovers a new meaning in life, Kavya, Javed and of course, the man in question, Brigadier Pratap [Kay Kay Menon].

Why is Javed silent? What is the truth of that night? Why is Brigadier Pratap hell-bent on getting Javed convicted? Will Sid have the courage to save Javed’s life?

SHAURYA isn’t a flawless script. But it has been treated with utmost realism and sensitivity by Samar Khan. Talking of the narrative, the film could’ve done without the item song at the very start [and what was Pawan Malhotra doing in this song?]. Besides, one fails to understand why Deepak Dobriyal doesn’t confide to his mother, since the family has always taken pride in the fact that they’ve adhered to principles all their lives. Besides, the film could’ve been shorter by at least 15/20 minutes. The second hour drags at places!

Despite the hiccups, SHAURYA delivers what it promises. At the end of the screening, you actually pinch yourself. Did the same guy who helmed this riveting fare called SHAURYA, direct KUCH MEETHA HO JAYE, a bitter cinematic experience? The execution of SHAURYA is impressive and Samar also succeeds in extracting stellar performances from the ensemble cast.

Despite the shortcomings, the screenplay is tight, not deviating from the core issue. The reason that compels Deepak Dobriyal to shoot a fellow officer and also the powerful climax prove that the writers [Jaydeep Sarkar, Aparnaa Malhotra and Samar Khan] know their job well. There’s not much scope for music in a film like this, therefore the two songs don’t make much of an impression. However, in terms of melody [Adnan Sami], ‘Dheere Dheere’ has a soothing effect on the listener. Carlos Catalan’s cinematography is topnotch.

The story rests on five actors – Rahul Bose, Kay Kay Menon, Jaaved Jafferi, Deepak Dobriyal and Minissha Lamba. Rahul excels in a role that fits him like a glove. In fact, this performance easily ranks as one of his finest works. Kay Kay is dynamic. Watch him explode in the climax and you realize the potential this actor possesses.

Jaaved does a decent job. However, his character is relegated to the backseat after a point. Deepak conveys a lot even when silent – that’s the sign of a fine actor. Minissha is effective. Besides, she looks the character. Amrita Rao handles her part with maturity. She’s first-rate. Seema Biswas, as always, is a complete natural.

On the whole, SHAURYA is a well-made film that will have to rely on a strong word of mouth to sustain in the coming days. However, the film deserves to be tax-exempted since it’s a genuinely deserving case.

Here is the 1st Promo of “Break Free“, from Krazzy 4 featuring Hrithik Roshan,

The Earlier Version of the same song is also titled “Break Free” and was performed by the King Khan – Shahrukh Khan

The Song Break Free is sung by Vishal , one of the music directors from the music director duo – Vishal-Shekhar

You Can check out both the versions below and Dont Forget!!! to leave your comments on which video and whose dance is better – SRK’s or Hrithik’s

Hrithik’s Version – Break Free

Shah Rukh Khan’s Version – Break Free

Which One Do You All Think is Better???

Waiting for your opinions…

One Two Three Movie Review by Taran Adarsh 

Of late, the trend is to make entertainers that don’t tax the viewers’ brains. The mantra is simple: Plonk yourself on the cushy seat, munch popcorn, sip cola and enjoy the on-screen antics. Just don’t ask questions. Just don’t look for logic. No-brainer comedies are what the doctor ordered to keep the industry’s heart live and ticking.ONE TWO THREE, helmed by debutante Ashwani Dhir, follows the rules faithfully. But…

Like most films of its ilk, ONE TWO THREE rests on a waferthin plot. No issues with that, but after a point you don’t react to the on-screen jhamela. Substituting a cohesive script with witty one-liners and funny situations has never been the shortcut to success and never will be.

Besides, the masti-mazaak works at times, but falls flat on several occasions. The on-screen characters try their level best to tickle your funny bone, to evoke mirth, but the viewer sits motionless and expressionless like a mannequin.

Comedy is serious business and Ashwani Dhir has proved his skills in the past [he had penned the immensely likeable OFFICE OFFICE], but cinema is a different medium altogether. Sure, Dhir has worked hard on wit-laden dialogues and individualistic sequences, but how one wishes he would’ve worked on presenting a tighter script.

It’s like promising a sumptuous meal, but being offered just starters. The main course is conveniently forgotten!

Diamonds belonging to a Don [Manoj Pahwa] get stolen. The diamonds accidentally fall in the hands of Chandu [Upen Patel] and Chandni [Tanishaa], who hide them in a car. Papa [Mukesh Tiwari] and his henchmen [Vrajesh Hirjee and Sanjay Mishra] are desperately hunting for the diamonds, while hot headed police office Mayavati Chautala [Neetu Chandra] is on the prowl looking for offenders of any kind.

Enter the first Laxmi Narayan [Tusshar Kapoor]. He’s from a khandani mafia family and his mother prays that with a few murders under his belt, he will be settled for life. He’s got a final chance to redeem himself as a Bhai. He comes to Hotel Blue Diamond because he’s taken a supari to bump off Papa.

Enter the second Laxmi Narayan [Suniel Shetty]. He is sent to Hotel Blue Diamond to collect a new car for his boss from Laila [Sameera Reddy]. The third Laxmi Narayan [Paresh Rawal] is a hawker who has made so much money selling under-garments on the footpath that he has set up a lingerie factory now. His son sends him to Hotel Blue Diamond to collect lingerie samples from upcoming designer Jiya [Esha Deol].

The three Laxmi Narayans are at the same place, at the same time. They get letters and photographs meant for the other. The first Laxmi Narayan gets lingerie designer Jiya’s photo and goes to kill her, only to end up falling in love with her. The second Laxmi Narayan gets Papa’s photo and goes to collect the car from him, only to be mistaken for a killer and gets beaten black and blue. The third Laxmi Narayan gets Laila’s photo and asks her to show him the under-garments, only to be branded an old pervert.

Meanwhile, Chandu and Chandni are determined to stop anybody from buying the car where they have hidden the diamonds.

Lock your brains at home when you watch this movie, for ONE TWO THREE, like its predecessors, is more of a stress buster than anything else. Unfortunately, the absence of a strong screenplay evokes mixed reactions. You do laugh when you’re supposed to laugh, but even those jokes are forgotten as you breeze out of the cineplex. You don’t carry the story, the film, the gags and punches, the witty one-liners with you at the end of the show.

Ashwani Dhir is a far more accomplished dialogue writer than a screenplay writer. Directorially, the choice of actors is right and a few scenes are well canned. Raghav Sachar’s music disappoints. Barring the title track, the remaining numbers are forgettable. Cinematography is inconsistent. It looks like a hurried job at times.

The film has a number of characters, but the one who actually makes you laugh the maximum is Sanjay Mishra, who impersonates the yesteryear villain Jeevan to perfection. Suniel Shetty too has his moments, but his ‘Left-Right’ dialogues, in scene after scene, tend to get monotonous. Tusshar does a decent job. Paresh Rawal is okay, but not the scene stealer — something you’ve started expecting from him.

The girls enact their parts mechanically. The performances are in this order — Sameera Reddy [okay], Esha [dull], Tanishaa [no scope] and Neetu Chandra [loud]. Manoj Pahwa excels. Mukesh Tiwari is alright. Ditto for Vrajesh Hirjee. And what is Upen Patel doing in this film? Murli Sharma doesn’t deliver this time.

On the whole, ONE TWO THREE falls below the ordinary mark. At the box-office, don’t expect much!

By TARAN ADARSH

Deepika Padukone tells Shubha Shetty Saha why she and Kapoor were ‘meant to be together’!

She has sprained her ankle while doing a death defying action scene in Nikhil Advani’s Chandni Chowk to China. “I have injured the same ankle thrice in the last 10 days. I can’t afford to ignore it any longer,” she says. But that or any other deterrent cannot stop her from beaming. Deepika Padukone is madly in love with Ranbir Kapoor.
How did your romance with Ranbir begin?
We met while we were shooting for our respective debut films (Om Shanti Om and Saawariya). At that point of time it was very different because he hadn’t been in the limelight at all. It was a completely new thing for him whereas I was used to it, having been a model.

We were both very involved with our films then. So we didn’t really get too much time to spend with each other. We went our separate ways after our movies were released and we just disconnected. Then we got together again when we were doing Siddharth’s (Anand, director) movie (Yash Raj Films). We were together for a month and that’s when it started.

Was there any attraction even when you two had met earlier?
Yes, we got along well even then. But we didn’t get too much time to be in a relationship. We thought ‘let’s not rush into anything’. We are young and we both have our careers to pursue. We also knew that at some point we would be working together and there would be enough time to get to know each other.

How does it feel being in love?
It’s a fantastic feeling. He is very caring. I am glad that I am finally in a relationship where my man loves me so much and for what I am. Also, when we met again, so much had already happened in our respective lives. We came from two different spaces. But we connected. The fact that both our families are also happy about this relationship makes it easier.

What do you think of his parents?
They are wonderful. His mum (Neetu Kapoor) is very sweet. Kapoors are loving people. They are all foodies. It’s another thing common between us. He loves to see me eating the way I do, because the other women he knows are always picking on ghas phoos.

Since he comes from a filmi background, do you seek his advice?
He is everything to me. He is someone I can talk to about everything and that’s the beauty of our relationship. Actually, I prefer not to discuss work with him as after a long day it would get too much. We enjoy doing a lot of other things and spend as much time with each other as we can. Yeah, I can ask him for suggestions because he would know better about this industry.

Did you like the towel dropping scene in Saawariya?
(Blushes) I have seen the movie. In fact, I watched the movie with him in Sydney. I saw the song and I think it’s cool. I keep teasing him that he’s become a gay icon.

Even the girls are hankering after him now. Does that make you feel possessive?
No. I know I am dating a good boy.

Are you worried you won’t get enough for each other, given your busy schedule?
Looking back, Siddharth’s film eventually turned out to be a relaxed holiday. And after coming back we did a soft drink ad together. So in all, we have spent two to three months together now. After that, I got busy with Nikhil’s film. Ranbir was supposed to be busy too with the Yash Raj film but since Katrina’s (Kaif) portion got deleted, he has some free time now. But once he starts working too, we will try and find some time with each other.

Your film Om Shanti Om has a dialogue to the effect of, ‘when you want something badly; the whole universe conspires to get it for you…’(Smiles) Agar aap kisi cheez ko dil se chaho toh poori kaynath tumhe usse milaneki koshish me lag jati hai. And we keep saying this to each other all the time! The first time we met we were really fond of each other. But work drifted us apart. However, if two people are meant to be together, they will be together, no matter what. I believe in destiny.

You are lucky. He is a sweet boy.
When you meet him, please tell him I am a sweet girl. Actually, both of us have been brought up in similar homes. His parents (Rishi and Neetu Kapoor) are celebrities and my dad (ex-badminton player Prakash Padukone) is a celebrity in his own way. But our parents have given us a normal upbringing. We were not treated as celebrities. We both got pocket money and had to adhere to deadlines. That kept us grounded and that’s the reason we get along so well.

I am in Love with Ranbir – confesses Deepika Padukone

After shying away from and playing cloak and dagger and leaving a lot to speculation, Deepika Padukone confirmed that she and Ranbir Kapoor are definitely a couple.

Deepika has finally revealed the truth about that special man in her life, and he is none other than the Saawariya Star Ranbir Kapoor
After shying away for a long time the lovely lass has now put all the speculations to rest and admitted that she is indeed dating Ranbir.

The Om Shanti Om star has been quoted saying, “I am in love.”

“Yes, Ranbir and I are seeing each other. I am so sorry that the media will not have any gossip to write about me anymore”, said Deepika. In an interview with a Mumbai tabloid she also said that love is the most beautiful emotion in the world.

Ask her how it happened and she tells, “Whenever Ranbir and I met, the media started speculating. We used to meet often but that was because we were getting to know each other better. After a certain time, we drifted apart because we both got busy with our respective shooting schedules.”

“Today, we realise that we are compatible with each other. So, we have no qualms in telling the world that we are in love.”

Now that their relationship is out in the open, Ranbir and Deepika have overnight become the most talked-about couple in filmdom.

But what about Yuvraj Singh and Nihar Pandya?

“We were kind of dating. But I never got to spend time with him to get to know him better. As soon as I met him, he went off to Australia.”

“So I am not commenting anymore on my past. I am very happy right now in my relationship with Ranbir,” says Deepika and adds, “About Nihar, his parents have taken care of me and treated me like family. I am in touch with Nihar and his parents.”

As for future plans to take the plunge and seal their relationship, the couple does not have any such plans for the near future.

At the moment their careers are what matters the most to both of them, who are on their way to make a mark within the film industry.

Pepsi Co featured this young couple alongside the King Khan Shahrukh Khan in a new commercial for Pepsi featuring Youngistan as the main theme

Catch the Deepika Ranbir and SRK Pepsi Commercial here

Jodhaa Akbar Exclusive Movie Review by Taran Adarsh

Let’s get one thing straight: You haven’t watched anything so opulent, so magnificent like this in a long, long time on the Hindi screen. It’s not just body beautiful, but there’s soul as well.It requires courage, prowess, patience, aptitude, knowledge, passion and of course, loads of currency to attempt a movie like JODHAA AKBAR. But more than anything else, it requires your firm belief in the subject, the belief to attempt a historical when historicals are considered an absolute no-no in the industry, the belief to spend almost Rs. 40 crores in a film that could go either ways.

Only when you’re convinced yourself can you convince millions of moviegoers. And convinced you are after watching JODHAA AKBAR, a film of epic proportions.

Now let’s clear a few misconceptions pertaining to the film…

• It’s blasphemous to compare MUGHAL-E-AZAM and JODHAA AKBAR. While MUGHAL-E-AZAM was primarily about the legendary romance between Salim and Anarkali, a subject that has been attempted quite a few times on the Hindi screen before, JODHAA AKBAR is about the relationship that the young Akbar shared with Jodhaa.
• A lot has been said and written about its length [3.20 hours]. Does the viewer of today have the patience to watch a really lengthy film in today’s times? But once into JODHAA AKBAR, the sequence of events, the drama, the romance, the war… every aspect keeps you mesmerized. Oh yes, the length does pinch you at one crucial point [second hour, which is relatively shorter], when a song breaks out. Otherwise, the 3 + hours are very well spent.
• When you watch historicals like MUGHAL-E-AZAM and RAZIA SULTAN, the usage of chaste Urdu is difficult to comprehend at times. Not here! The language is simplified – Akbar speaks in Urdu, Jodhaa in Hindi – and it’s easy to decipher.

As a cinematic experience, it would be wrong to compare JODHAA AKBAR to any of Ashutosh Gowariker’s previous endeavors. Why, it would be erroneous to compare the film with any film ever made before in this genre. This one stands out and stands out the tallest.

To sum up, JODHAA AKBAR leaves you spellbound, enthralled, entranced and awestruck. Ashutosh Gowariker makes the legendary characters come alive on screen. Take a bow, Ashu!

Set in the sixteenth century, JODHAA AKBAR is a love story about a marriage of alliance that gave birth to true love between a great Mughal emperor, Akbar, and a Rajput princess, Jodhaa. Little did Akbar [Hrithik Roshan] know that when he married Jodhaa [Aishwarya Rai Bachchan], he would be embarking upon a new journey — the journey of true love.

The daughter of King Bharmal of Amer [Kulbhushan Kharbanda], Jodhaa resented being reduced to a mere political pawn in this marriage of alliance, and Akbar’s biggest challenge now did not merely lie in winning battles, but in winning the love of this defiant princess.

One of the prime reasons why JODHAA AKBAR works is because the present-day viewer is unaware of the romance between Akbar and Jodhaa. Sure, we all know of Akbar as a great emperor, but the love story makes for a refreshing subject. And the execution of a number of sequences makes JODHAA AKBAR extremely special.

Some instances:
* The war sequence at the very outset. You realize the scale and magnitude of the film at the very beginning.
* Hrithik taming an out-of-control elephant. It’s hair-raising.
* The two pre-conditions set by Jodhaa, before her marriage to Akbar. Very interesting.
* The confrontation between Ila Arun and Ash at the kitchen, when Ash decides to make the meal herself.
* The immediate sequence, when Ash is asked to taste the food herself by Ila before she’s about to serve the food to the Emperor and his associates. Once done, Hrithik demanding that he be served the meal from the same platter that Jodhaa had used.
* The intermission point, which sows the seeds of a misunderstanding between Hrithik and Ash.
* Post-interval, Hrithik returning to Amer to get Ash back to Agra and the welcome ceremony by his mother-in-law [Suhasini Mulay].
* The sword fight the very next morning, between Hrithik and Ash.
* The ‘Azeem-o-Shaan Shahenshah’ track, when the entire kingdom hails Hrithik.
* The fight in the climax [reminds you of the fight between Brad Pitt and Eric Bana in TROY].
Amazing moments indeed…

Ashutosh Gowariker knows that historicals have to be simplified while narrating on celluloid so that the moviegoer is able to grasp and comprehend the plotline and the sequence of events. Thankfully, JODHAA AKBAR is not in the least difficult to decipher. Gowariker’s handling of the subject deserves the highest praise, for it’s not everyday that you come across a film like JODHAA AKBAR.

A.R. Rahman’s music is not the type that you take to instantly, but yes, it gels beautifully with the mood of the film. ‘Azeem-o-Shaan Shahenshah’ and ‘Jashn-e-Bahara’ are the best tracks in terms of tune. In terms of choreography, ‘Azeem-o-Shaan Shahenshah’ is awe-inspiring, while the execution of ‘Khwaja Mere Khwaja’ is outstanding. Rahman’s background score is simply extra-ordinary.

There’s no room for dullness in Haider Ali and Gowariker’s screenplay. The writing is tight, the drama keeps you hooked and the romantic track is wonderful. The film also talks of secularism, an issue so vital in today’s times. K.P. Saxena’s dialogues are amazing. At places, soaked in acid. The writer comes up with several gems, yet again. Kiran Deohans’ cinematography matches international standards. The movement of camera at various places, especially in the battlefield, is breath-taking. Also, the D.O.P. captures the grandeur to the fullest. The production design [Nitin Chandrakant Desai] is, again, awesome. Recreating the bygone era requires not just money, but also the vision and Desai proves his supremacy yet again.

Be it the war sequences or the sword fights or general action, Ravi Dewan’s contribution to the film is incredible. Especially noteworthy is the fight between Hrithik and Nikitin Dheer in the climax. It’s simply outstanding! Editing [Ballu Saluja] is perfect, although the romantic song between Hrithik and Ash can be shortened in the second hour. The costumes [Neeta Lulla] as also the jewelry also deserve special mention.

JODHAA AKBAR also works because of the right casting. It’s difficult to imagine anyone else in the role of Emperor Akbar. Hrithik seems born to play this role and he enacts it with such precision, such flourish, such confidence that it leaves you asking for more. A mind-boggling performance without doubt!

Aishwarya Rai Bachchan is superb. Oh yes, she looks ethereal — a compliment she has heard a trillion times before. What’s new in that? But watch her emote in this film. You realize the amazing talent that has hitherto not been tapped by any movie maker. A flawless performance indeed!

JODHAA AKBAR has a host of characters, but the ones whom you carry home, besides Hrithik and Ash, are Sonu Sood [excellent], Nikitin Dheer [fantastic], Ila Arun [electrifying; her finest work so far], Punam S. Sinha [graceful], Kulbhushan Kharbanda [perfect], Raza Murad [effective] and Rajesh Vivek [good]. Amitabh Bachchan’s rich barritone voice adds lustre to the magnum opus.

On the whole, JODHAA AKBAR is, without a shred of doubt, a brilliant film in all respects. This historical has all it takes to prove the first blockbuster of 2008. Very strongly recommended!

Alternate Reviews of Sunday

Sunday Movie Review by glamsham.com

Picture this: There is a cold blooded murder. Murli Sharma suspiciously hovers in the background near the place where the body is found. Great beginning. Director Rohit Shetty deserves a clap, just for the beginning.

For the next half hour the movie meanders along. You see goons who can easily pass off as buffoons trying to kill Ayesha Takia. She has no clue why, nor do we. During this time Rohit Shetty gets busy sketching the character played by Ajay Devgan. I guess, even he has no clue as to what to do. The end is something you would want someone to sit near you and explain! And yes, Murli Sharma is the one who had tucked Takia into her bedroom after finding her wandering on the streets of Delhi. What he was doing at the crime scene in the first place no one knows!!!

The story is about a day which goes missing in Ayesha’s life which connects what is happening to her now. It appears that Takia had gone to a night club with her friend on Saturday night and her drink was ‘spiked’ by two guys. From then on she spirals out of control on the streets of Delhi meeting five people along the way. The Sixth one tucks her in bed. She sleeps the entire Sunday. That explains the two milk packets kept outside her door on Monday morning. Makes sense? Not yet, right?. Forget it.

Let’s get to the performances. Ajay Devgan is trapped in a role which he should have left behind ages ago. Ayesha Takia does what is asked of her. But it is Arshad Warsi who puts life into his role, closely followed by Irfan Khan. After his act as Circuit in Munnabhai, I guess, this one is very endearing. Perfect comic timing and ‘on the cue’ dialogue delivery, Arshad is a treat. Irfan as the ‘wanting to be a movie star’ is another act that is worth mentioning.

Yes, Esha Deol does sizzle in her item song. The girl is all attitude. Sorry, can’t add anything more, am at a loss for words!

TO GO OR NOT: There is this one dialogue which Ajay Devgan keeps repeating: “Mujhe choo, choo pasand nahi.” If you like “Choo choo” Teri marzi!

Ratings : 1 / 5

 Sunday Movie Review by ApunKaChoice.com

 No choo chaa. No beating about the bush. Let me come straight to the point. Rohit Shetty’s movie ‘Sunday’ is no laugh riot. But it is indeed a good fun to watch once.Thankfully, Sunday is not a senseless comedy like Welcome . It doesn’t string one gag after another without any direction to the story. ‘Sunday’ does have an engaging tale, a murder mystery, at its heart. Around it revolves the humour – a healthy cocktail of situational comedy and plain slapstick. Add to it some stunts, action and romance. And voila, you have the recipe for a true-blue masala entertainer. That is what ‘Sunday’ is.
The movie begins with a murder. The killer, his/her face unrevealed, dumps the girl’s dead body in a park.Sehar ( Ayesha Takia ) has a gift for mimicking different voices – a talent that she puts to use by working as a dubbing artist for animation films. But she has a habit of forgetting things.

On a Saturday night, Sehar, along with her friend Ritu ( Anjana Sukhani ), goes to a discotheque, where two guys try to get fresh with them. Sehar teaches them a lesson in her own way.

The next day when Sehar wakes up, she finds something amiss. Odd things begin to happen to her.

A cabbie named Ballu ( Arshad Warsi ), whom she runs into more than once, keeps asking her for his unpaid taxi fare, an exact amount of Rs. 420. A struggling actor named Kumar ( Irrfan Khan ), screams bhoot every time he sees Sehar. And there are also a bunch of goons who are out to kill Sehar.

The poor girl doesn’t know who all these guys are and why they are after her.

And there is also an ice-cream-gorging Inspector Rajveer ( Ajay Devgan ) and his Haryanawi colleague Anwar (Mukesh Tiwari), who are open to bribes, and have their own unique way of functioning.

Rajveer falls for Sehar. But as he goes about investigating the murder case, all the clues point to Sehar. And after some brainstorming, he discovers that Sehar cannot remember anything about a particular Sunday in her life, the one right after the night she went to discotheque. The rest of the film is about finding the missing Sunday and linking the pieces of the puzzle together to get to the real killer.

First things first. ‘Sunday’ is not so much of a murder mystery as it is a comedy. And the main drivers on this front are Irrfan Khan and Arshad Warsi.

Irrfan is terrific playing a struggling actor who is always dressed in different guises – a lawyer, a ravana, or a don. Irrfan’s style of comedy is unique. He doesn’t do anything goofy or make funny faces, yet with his facial expressions and dialogue delivery, he brings his comic timing to bear.

Arshad Warsi shows his flair for comedy yet again, playing a clever cabbie who crams his taxi with passengers or pulls a fast one on a corrupt cop to earn an extra buck.

Ajay Devgan is pretty likeable in a performance that wouldn’t have registered without ample support from his sidekick Mukesh Tiwari, who gets to deliver some of the best lines.

Ayesha Takia looks cute in a role that doesn’t put great demands on her acting skills.

The music of ‘Sunday’ is average but the film could have done better without the song ‘Loot Liya’. The cinematography is superb. There is a good stunt sequence on top of the houses of congested Chandni Chowk at the very beginning of the film. The car chase sequence in the second half is pretty ordinary.

‘Sunday’ should be seen mainly for its comedy and suspense. As the missing links fall in place and the dots are connected, the mystery becomes more and more engrossing. But director Rohit Shetty commits hara-kiri in the end. He doesn’t care to explain to the viewer how the cop (Ajay Devgan) unraveled the mystery and figured out who the killer was. Shetty simply reveals the killer without any logical explanation.

Anyway, I didn’t go expecting much logic or methodical approach from ‘Sunday’. Because if you do so, my friend, then the joke is on you.

Rating: ***

 Sunday Movie Review By Taran Adarsh

Vijay Anand’s evergreen classics TEESRI MANZIL and JEWEL THIEF have been inspirations for many a film-maker over the decades. A number of films have borrowed from these two classics that are rightfully acknowledged as textbooks in film-making. Director Rohit Shetty also seems like a big fan of TEESRI MANZIL, since the script of his third outing SUNDAY is structured on those lines. But, in actuality, SUNDAY is inspired by the Telugu film ANUKOKUNDA OKA ROJU [2005].
A lady is murdered at the very outset and the pieces of the jigsaw puzzle are fixed in an interesting and stylish way. Any whodunit works if and only if the needle of suspicion points at the various assorted characters all through the narrative. And SUNDAY has that quality, it keeps you guessing!
As a storyteller, Shetty whitewashes his previous highly competitive works [ZAMEEN, GOLMAAL] and comes up with his most watchable experience so far. Oh yes, there are glitches [in the second hour specifically] and Shetty should’ve taken care of them, but let’s not fuss over trivial matters.To sum up, SUNDAY strikes the right balance between the two diverse genres [suspense, comedy]. It’s a film that holds appeal more for the aam junta, not for the hard-nosed critics. SUNDAY can be summed up in four words: Engaging, engrossing, entertaining and enjoyable!
A dead body found floating in a lake… Unexplained scratch marks on her neck… Supari killers out to kill her… A taxi driver who yells ‘bhoot, bhoot’ every time he sees her…

Sehar’s [Ayesha Takia] world turns topsy-turvy when she gets a clue about the missing Sunday of her life, which points to a possible violent attack on her. A.C.P. Rajveer [Ajay Devgan] takes up the case to sort out the complicated and jumbled up threads of Sehar’s life.
In the process of solving Sehar’s case, it comes to light that on Sunday, different people interacted with her and amongst them, one could be the accused. The lot included Ballu [Arshad Warsi], the taxi driver and his friend Kumar [Irrfan Khan], a struggling actor, Ritu [Anjana Sukhani], Sehar’s close friend, a scary and suspicious character [Murli Sharma], who resides in Sehar’s society and the group whom she had come across while partying at the discotheque.
Rajveer is convinced that Sehar is innocent, but he is also equally sure that she is linked to everything. Is Sehar really as innocent as she claims to be?
Even though the two genres [suspense, comedy] move concurrently, the suspense element isn’t heavy on your mind and nor are the comic portions of the nonsensical variety that one laughs at the spur of the moment and forgets all about them the very next moment. The funda is clear: Make a wholesome entertainer that works for an avid moviegoer.

Although the story isn’t path-breaking, the screenplay [K. Subhaash, Robin Bhatt and Tushar Hiranandani] holds your attention all through the first hour. The writing is highly competent in this hour. It’s only in the second half that things slow down. Reason? There’s an unwanted song ['Pyaar To Hona Hi Hai'] and an unrequired, long-drawn chase [with cars somersaulting in the air], that tapers the impact. Even the climax should’ve been more convincing. The shock-value — so vital when the murderer’s identity is unveiled — is missing in the end. Also, a more prominent actor would’ve only enhanced the impact.
The screenplay writers should’ve worked harder on the second hour, since that’s the most important aspect of any whodunit. Yet, all said and done, director Rohit Shetty steers the film through turbulent waters with his expert execution.
The songs — by various music composers — give the film a varied sound. ‘Kashmakash’ [Shibani Kashyap] is the best of the lot. Filmed on Esha Deol [excellent], the song boasts of an imaginative picturization. ‘Manzar’ [Raghav Sachar] is another winner. This one’s filmed on Tusshar [dances very well]; it has a catchy beat and an equally arresting choreography. The stunts [Jai Singh] are stylishly executed. Aseem Bajaj’s cinematography is topnotch. He proves yet again that he’s amongst the best in the business. Dialogues [Sajid-Farhad] are admirable; very much in snyc with the mood of the film. The sets, especially in the Esha Deol track, are awesome.

The performances are likable! Known for intense roles, Ajay Devgan shows a flair for comic moments and gets it right. SUNDAY would only multiply his fan-following since the actor has started deviating into areas that he seldom visited as an actor. As always, Arshad Warsi is in terrific form. It’s a treat to watch him essay his role with such precision. Irrfan is another actor who surprises you all the while. In fact, this combo — Arshad and Irrfan — compliment each other very well.
Ayesha Takia is a complete natural. The best thing about her is, she never makes you feel she’s acting. She just slips into her role so well. Her introduction — her dubbing for an animation film — is excellent. Anjana Sukhani doesn’t get any scope. Mukesh Tiwari is first-rate. Murli Sharma, Vrajesh Hirjee and Ali Asgar are alright.
On the whole, SUNDAY is a well-made entertainer that has the potential to click with moviegoers. It also has the advantage of having open weeks ahead, with no major opposition till 15th February. Should end the drought that the industry is facing after a flurry of flops.

By Planet Bollywood 

At long last! After months of delays and countless rumours, the music for Ashutosh Gowariker’s monumental Jodhaa Abkar (JA) has finally been released. As you will no doubt be aware, the epic portrayal concerns the life and times of the 16^th Century Mughal emperor Zalaluddin Akbar and in particular his romance with a Rajput Princess, Jodhaa. Never mind the movie, there has been just as much anticipation for the soundtrack but why all the hype you may ask? Well it’s all to do with the magical partnership of the Director / Music Director and their previous successes.

Based on the critically acclaimed Lagaan and Swades, no one can doubt that he (Ashutosh) has been inspirational in pushing the bar as far as Indian cinema is concerned. No stone was left unturned in these projects. So when it comes to producing the music, it’s no surprise that he turns to his favourite composer, the undeniable genius that is AR Rahman (ARR). Globally recognised as an inspirational musician, his work (including that of Lagaan and Swades) has often stirred widespread debate and criticism but to his credit, it’s mainly been subject to widespread praise and popularity.

To his fans of which there are many including this writer, ARR is the epitome of the absolute finest that Hindi music has to offer and has been for almost two decades now. Apart from ‘how does he do it’, the biggest question on everyone’s lips is ‘can he produce another blockbuster soundtrack befitting the undoubted quality and grandeur expected of the movie?’ Well listeners, I am delighted to say that with JA the answer is a resounding YES and the partnership of Gowariker / Rahman has delivered another inspirational score to resonate in your ears for years to come. Here is why…

As if to make up for lost time for his fans and music lovers alike (let’s face it his last soundtrack Guru was disappointing), ARR makes an immediate and quite mind-blowing impact with the opening track Azeem-O-Shaan Shahenshah. Bellowing horns and thundering drums commence proceedings for the introduction of our emperor Akbar and what follows is a remarkable background piece that portrays his stature, aura and power in 16^th Century India. Whilst the horns and drums remain intact for the majority of the track, they fade intermittently with the introduction of several unique but incredibly crisp arrangements composing of instruments used in battles e.g. sword thrusts etc which, when combined into one harmonious tune, have the potential impact of taking your breath away! And then you suddenly realise the stirring vocals by Mohammad Aslam, Bony Chakravarty and Chorus but such is the impact of the music you barely notice their presence. Javed Akhtar’s lyrics are very suiting of the occasion. Suffice to say this is ARR at his very best and proves yet again why he is the master of periodic / thematic compositions, quite simply awe-inspiring work here!

As if one gem wasn’t enough the maestro then offers another in the form of the absolutely dazzling Jashn-e-Bahaaraa. This extremely addictive and heart-warming romantic number blooms with the sound of a sublime string based instrument (guitar variant). If the soft harmonic resonance created by this instrument was not bewitching enough ARR goes one step further and brings in multiple string instruments to add further colour and texture to the orchestration…at one point they all collide together creating a most joyous effect on the ear! The slow but richly soothing melody is underpinned by a delightful percussion which flows through your soul as if to relieve your inertia, leaving you to hit the repeat button time after time.

As for the singing, well it sounds very much like Sonu Nigam but if you listen closely you will surely hear what turns out to be Javed Ali’s finest performance to date (one that Sonu would have been proud of himself), his soft and subdued vocals a testament to his underrated talents. And how can one forget Javed Akhtar’s poetry? It will make you cringe in sheer amazement! This track is another winner all the way and a love song that is befitting of life, love and emotions of any century, any time, any place. That’s the true quality of this composition. It’s a timeless classic.

As is the case for many of his soundtracks, ARR always enjoys a bit of singing and has proved to be extremely effective behind the mic (Yeh Jo Des Hai from Swades, and Roobaroo from Rang De Basanti being two examples).

For JA, he sings with verve and energy for the next track, the fabulous qawaali based Khwaja Mere Khwaja. This lengthy track starts with the sound of a harmonium and a short verse recited by ARR heralding the presence of the emperor Akbar…suddenly the delicious and uplifting sound of an organ interwoven with strings sweeps you off your feet and ushers your thoughts onto a different planet altogether- can a qawaali based song really sound this good (and more importantly perhaps sound this good to a non-qawaali listener?). Well just remember if ARR has blessed the composition anything is possible!

The underlying arrangements are typical of any qawaali based song, strong tabla and harmonium but what makes it distinct and enjoyable is the fusion of melodious ‘alaps’ and hand clapping provided by the chorus that attracts your attention until the very end. The lyricist (Javed saab) provides for simple but attractive poetry. All in all, this is an extremely satisfying qawaali track (arguably the best since Allah-O-Ali from Thathatsu) and unquestionably another highlight of the soundtrack, ARR is clearly in top form here!

The opening of the penultimate track, Inn Lamhon Ke Daaman Mein, still sounds like the blooming Jashn-e-Bahaaraa from a few tracks ago! The soothing strings and percussion return for a second offering however do not be dismayed because if you give it time and effort, you will hear how it eventually blossoms into something potentially even better! Whilst Jashn-e-Bahaaraa was slow paced throughout, this love duet provides much more variety, energy and emotion, in particular listen out for the sudden upsurge in orchestration and the contrasting whisper quiet lulls. Sonu Nigam renders another emotional piece, proving why he is a favourite playback singer of ARR. Madhushree provides supporting vocals later and sounds talented. The lyrics by Javed saab are top rate as usual! Reviewing this track is like dissecting multiple songs that have been intertwined with a golden thread i.e. it sounds fabulous but you don’t know how the maestro has managed to keep its structure and melody intact. Nevertheless it sits proudly as one of the best offerings of JA.

The final track by the name of Mann Mohanaa is a situational song and definitely the weakest effort of the entire album. That’s not to say it’s bad, on the contrary; however it’s a notch or two below the benchmark set by the rest. Another slow and soothing number, this one relies on the catchy combination of the percussion and the tabla to give it melody and to lay the foundations for other instruments such as the flute to make an appearance. Bela Shende (last heard in Paheli) sounds like an accomplished singer but on this rare occasion the lyrics by Javed Akhtar are not up to par with his other contributions here. Overall this track is average by ARR standards.

The immense soundtrack ends with two ingenious pieces, Jashn-e-Bahaaraa (Instrumental), which concentrates on the flute and Khwaja Mere Khwaja (Instrumental) which highlights the oboe. These two tracks come with the highest recommendation possible and should not be disregarded. ARR’s approach to focus on specific instruments confirms his inspirational mind and attention to detail that is rarely matched by fellow composers. Each instrumental provides a unique alternative to the original. A must listen!

With only five full tracks, there was a risk that Jodhaa Akbar’s music would fall short of expectations and alongside all the delays; music fans were rightly getting frustrated. However the cliché ‘the best things come to those who wait’ is very fitting as the Gowarikar / Rahman dream partnership has pulled off another blockbuster score (after Lagaan and Swades). Let’s hope the movie can now pull it off as well!

In conclusion however it must be said that ARR triumphs where other composers have failed since his last major releases (Meenaxi and Swades); his JA compositions are magical, spectacular, invigorating and above all a wholesome experience you rarely get in soundtracks these days. When you cannot pick a favorite you know the benchmark has been set consistently high. Indian music has just added another soundtrack to its eternal treasure. I am sure you will join me in congratulating AR Rahman on his latest Magnus Opus which turns out to be an early but strong contender for best soundtrack of 2008 – more awards clearly await this phenomenal talent who simply never ceases to amaze!

By Passion For Cinema

AR Rahman: The Maestro
In a world of chaos and endless insanity, there are a few things one wishes always keep coming….
Morning steaming cup of tea and untouched newsprint, the unruffled texture of Scotch, an astonishing book you feel blessed to lay your hands on, good cinema and of course, good music.

They restore your faith in life, in that after all the grilling, you will be treated to your 15 some day. AR Rahman’s music constitutes one of those healers for me. And it not only remains intact in its untainted form, it gets better by the day. Here is one guy who refuses to look back. And thank God for that.

Jodhaa Akbar is the final period film composition from Rahman, or so we are told. So I would like to give the score what it deserves, an effort to understand it from all possible angles – the conception, the technical specifics of the songs like the instruments used and the journey of the songs. Too bad I am not well endowed with enough resources for accessing all that information but I will try and see if someone can contribute in this effort.

Rahman has been showering us time and again with his prowess on diverse musical forms. From Punjabi Giddha & Bhangra to Gujarati Garbha to Carnatic to Qawwali to Devotional Bhajan to Arabic, he has been a constant teacher opening up these huge floodgates of scintillating music orchestrations and vocal styles, in his Midas touch and a knack for perfection. But one form that has been an undercurrent of all these manifestations is Sufi, a riddle that takes a lifetime to solve.

This mystique Arabic and Sufi air is created by string instruments like The Oud(used mostly as an accompaniment for solo ‘takhti’ singers), The Qanoun(similar to a Santoor only the strings are laid on a metallic table) which provides the sharp edges to a Qawwali or a long recital) and The Saz(a Turkish instrument which looks like a guitar), and the one-string Rababeh(Lebanese folk sing-along instrument).

Coming back to Rahman,who started with a simple keyboard, he would strike the magic keys and these simple tunes would later take myriad wondrous forms, in all their flowing exuberance and glory.
When such a composer becomes so big for any project, the whole ball game becomes quite a spectacle to witness, it can swing either ways, and that risk adds life to the ‘critical’ projects.
It is no joke for the players in this game, they have no option than to win.
Rahman has been winning this game for as long as I can think, with minor exceptions or flaws. Lagaan, Swades, Guru, Yuva, Mangal Pandey, Rang De Basanti, Sivaji and now Jodha Akbar. When has the expectation from him being any less but the sky?

When I listened to Azeem-o-shaan shehenshah, it for a quick moment made me think of Rahman dressed in the Mughali Zirah Baktar(armoured dress) and battle all these expectations at the peak of fury and rage. Pretty short-lived moment of fun.

Brief Preview
Jodhaa Akbar is interesting because it looks at reinventing an oft-misunderstood history. It pitches love against politics. We know Akbar the Great as a majestic leader, a shehenshah. Here we get to see him as a human, what the man was made of, his emotional composition. And how the early events in his life changed the shape of the Mughal Empire and the nation on the whole. And here we get to see the oft-ignored historical character of Jodhaa, a Rajput Princess who shaped the destinies of many a wars and the warrior at the helm.
I am interested in knowing if Akbar-Birbal has been explored.
Kiran Deohans is shooting a film after long, in his noticeably small repertoire.
The film is done in sync sound.

The Soundtrack
Coming to the score, I like the way the composer is going away from his trademark theme-lines and addictive hooks. I have been relishing the layered work that’s been coming out from his stable, and I would consider Bose, Mangal Pandey, Swades and Jodha Akbar in this streak. And I am glad that the songs in this album are as long as one would want them, mature, complete pieces in their own.
Javed Akhtar refrains from using chaste Urdu and achieves a fine balance between the different sensibilities involved in the film, which is all the more applaudable considering the great taste our nation has got for controversies.

1. Azeem-O-Shaan Shahenshah – Mohd. Aslam, Bonny Chakravarti
This is one of the most visual track I have heard in recent times. The sound designed has to be heard on a good system to be believed, you will practically see a battle scene, the army being lined up, war cries in your living room. It feels as is few mad musicians and singers were let free in the recording studio and what came out is this mad track that goes from an aggressive war cry to a celebration of the grandeur, touching upon Mughal war cries in Urdu to a much dehati UP kinda paean genre. The song is a journey and will take many hearings to explore all the possible trips. For starters, try the Marhaba Marhaba trip or once just focus on the swords crashing and the non-musical sounds, or the one where you just focus on the percussion.
Or sample the pure rush when the chorus crescendos through the sargams and aalaaps to a climactic “Jalaluddin Akbar”. You almost feel here is a larger than life monster out on a prowl. OK bad comparison, but bottomline:It’s a mad mad world out there!

2. In Lamhon Ke Daaman Mein – Sonu Nigam, Madhushree
In Lamhon Ke Daaman Mein
Pakizah Se Rishte Hain
Koi Qalma Mohabbat Ka
Dohrate Farishtey Hain

A beautiful quartet, translates somewhat into this..

In the lap of these moments
Lie some lovely ties
Like a scripture(Qalmaa = the beginning of Quranic verses) or an ode to love
Which angels seems to be repeating endlessly
(Farishta= Angel, Apostle, Messenger, Prophet)

Khamosh Si Hai Zameen Hairaan Sa Falak Hai
Ek Noor Hi Noor Sa Ab Aasman Talak Hai

The earth is quiet
The sky is amazed
(Falak= Sky, Heaven, Fortune, Fate)
The skies are enveloped in a splendid hue/luster
(Noor= Bright, Light, Luminescence, Luster, Refulgence)

This song has three characters, one of a thoughtful lover(Raja), one the situations(represented by a dramatic chorus-Prajaa) and the third of a devoted female lover(Rani). And it’s the bold interplay of these three that give a distinctive dramatic element to the song. It moves through seasons of love.

After the violent interludes of the chorus, the same serenity is regained and its as relaxing as it could get. The poetry and language is very intriguing here, while you hear the male singer croonings mild Urdu sonnets, the chorus is very Hindustani classical(Dom Tom Tana Nana Dom Tom Tana Dom Dom Tom Tana Nana Dom Tom Tana)
While still sticking to the Urdu flavor. What follows is absolutely shocking and stunning at the same time. The mood moves from ‘Qalma’ and ‘Noor’ to the devotional strains of a Sitar with Madhushree doing what she pretty much always does – adding saccharine to a song at a time when it needs the most.

Samay Ne Yeh Kya Kiya
Badal Di Hai Kaya
Tumhe Maine Paa Liye
Mujhe Tumne Paaya
Mile Dekho Aise Hain Hum
Ke Do Sur Ho Jaise Maddham
Koi Jyada Na Koi Kam
Kisi Raag Mein
Ke Prem Aag Mein

Jalte Dono Hi ke Tan Bhi Hain Man Bhi
Man Bhi Hai Tan Bhi
Tan Bhi Hai Man Bhi
Man Bhi Hai Tan Bhi

At this point, almost in a sawaal-jawaab format, the music comes to a stand-still and the male singer croons, rather almost speaks…

Mere Khwaabon Ke Is Gulistaan Mein
Tumse Hi To Bahaar Chhaai Hai
Phoolon Mein Rang Mere The Lekin
In Mein Khushboon Tumhi Se Aaye Hai

You cannot follow this with anything else but the violent chorus. And that’s exactly what happens. This makes the song ‘mukkamal’, completes the circle.
Clearly, a stand out composition in its structure, treatment and execution.

3. Jashn-E-Bahaara – Javed Ali
This song comes in the league of soft Rahman tracks a la Ae Hairate Ashiquie(Guru), O ri Chhori(Lagaan), Saawariya(Swades) or Des ki Mitti(Bose). Since this category needs to have a distinctive element or two, it is Javed Ali’s affluent abandon of a voice that does the trick along with a Persian string accompaniment.
Rahman has this knack of presenting the ‘joy in pain(gham mein khushi)’ genre in the most hummable form possible. Sample a ‘Ae ajnabi’ or a ‘So gaye hain’(Zubeidaa), and that’s exactly what he does here. What’s rather funny is that everyone forgets the fact these are actually songs with an element of in them.

Kehne ko Jashn-e-bahaara hai
Ishq yeh dekh ke hairaan hai
(jashn=feast, celebration jubilation)
Jashn-e-bahaara would roughly translate to a celebration of beauty/elegance/spring.

‘Kehne ko’ is a significant operative here, it brings the poignant irony to the seemingly pleasing mood.
In between the visible festivities, there is an element of Ranj(Distress, Grief, Sorrow), beautifully expressed in these words…

Phool se khushboo khafa khafa hai gulshan mein
Chhupa hai koi ranj fiza ki chilman mein

The fragrance is shying away from the flowers
There is a hidden sorrow in the curtain of the happy air
(Fiza=atmosphere, environment, Chilman=curtain)

Saare sehmein nazaare hain
Soye soye waqt ke dhaare hain
Aur dil mein khoyi khoyi si baatein hain

The sorrow emotion gets more pronounced slowly.

Kaise kahein kya hai sitam
Sochte hain ab yeh hum
Koi kaise kahein woh hain ya nahi hamaare

Karte to hain saath safar
Faasle hain phir bhi magar
Jaise milte nahi kisi dariya ke do kinaare

Pass hain phir bhi paas nahi
Humko yeh gham raas nahi
Seeshe ki ek diwar hai jaise darmiyaan

Hum ne jo tha naghma suna
Dil ne tha usko chuna
Yeh dastaan hamein waqt ne kaisi sunaai

Hum jo agar hain gumgheen
Woh bhi udhar khush to nahi
Mulaquaato mein hai jaise ghul si gai tanhai

Milke bhi hum milte nahi
Khilke bhi gul khilte nahi
Aankhon mein hai baharein dil mein khiza

This song just might get most popular, but it is too early to predict that, considering there are 5 gems in the album. Chaar aur hote to Akbar ke Navratna poore ho jaate!

4. Khwaja Mere Khwaja – A.R.Rahman
How can a period drama’s score be complete without the Ustaad himself wielding the microphone? So here you have him in all his glory.
In the string of higher pitch tracks like Zikr(Bose), Al Maddath Maula(Mangal Pandey), or Piya Hazi Ali(Fiza), here Rahman serenades the Almighty, a paean to Khwaja ji(saint “piir e mughaan/wali”). Listening to Rahman crooning a devotional number is like watching Tendulkar play in Wankhede(pardon the Siddhuism).

Slow guitar strums open the mystique melody, which slowly gets an obliging tabla’s company and Rahman starts weaving magic, which is sure to have lasting aftertastes. His ‘khwaja jee’ thrown in equal measures almost pinches you that you are still here, its just a song.

5. Mann Mohana – Bela Shende
It would take one some time to come out of the heady web of Khwaja mere Khwaja to appreciate this simple bhajan, though its not a O Paalanhaare, it does have its moments. Mostly the way Bela’s vocals start at a high octave and then sober down with some decent work from Akhtar which shies away from the stereotypes much like Bela’s rendition does. This song should be a character-building aid for Jodha’s character and should play out in installments. Trust Rahman to give you miles and miles of symphony in a bhajan!

Hope the film works the same magic!