GET-WELL CHORDS
The healing power of music is the focus of an entertaining rock-group drama, whose high notes indicate it could have been so much more. Plus, sigh, another “comedy.”
AUG 31, 2008 – FARHAN AKHTAR HAS THE PERFECT VOICE for rock. Had Abhishek Kapoor’s Rock On set out to chronicle a pop band, Akhtar – who plays Aditya, the lead singer – would have sounded untrained and unpolished, especially in the ballad Tum ho to, which requires him to carry the phrase Tumko hai maangti yeh zindagi over to the other side of the octave. It’s not that Akhtar can’t hold a tune. (He manages quite well the slightly tricky detour at the line, Tum ho to hai sapno ke jaisa haseen.) But when zindagi is stretched over a series of ascendant notes and his voice cracks to a falsetto, you know his limitations. You know that a good pop singer wouldn’t have lapsed into helium mode – he’d have soldiered on with sheer lung power.
But if pop is about shiny, show-offy perfection, rock addresses the often-unbearable imperfection of being – and in grappling with these words, Akhtar beautifully (and perhaps inadvertently) brings out the blistering rawness in the lyric, and thus in the situation. (It’s not unlike how SD Burman, despite being no Rafi, was exactly the person to sing certain songs that would get to the piercing truth of an on-screen moment. Where Rafi, with his superhuman talents, would have transported you to the heavens, Burman would dig his heels in and root you resolutely in this world, of ordinary people like you and me.)
At the point in the film that Tum ho to unfolds, it channels the emotions of a number of people, expressing a number of variants of love. And whether it’s the love of the band’s lead guitarist for his girlfriend, or the love of the lead singer for his most favourite band mate, or simply the love of a musician for music, that ache of not being complete without this love is palpable in Akhtar’s singing. This is an all-or-nothing moment, which needed to work if you needed to walk away from the film on a high – and thanks to Akhtar, it does. (And his performance, in many ways, is like his singing – raw, but just right.)
Rock On is, on the surface, the present-day story of a band – Aditya, Joe (Arjun Rampal), Rob (Luke Kenny), KD (a delightful Purab Kohli) – that seeks to recapture a sliver of past glory, but it’s really one of those white-collar wish-fulfillment fantasies like Shall We Dance, which equates happiness with putting home and career on hold while you go out and follow your heart and your passion. Rock On is built on a similarly spurious philosophy. As the film opens, Rob mopes around despite making good money working for music director Anu Malik (playing himself), Joe mopes around despite being around his beloved guitar all day long, giving lessons to neighbourhood kids, and Aditya mopes around despite being a super-rich investment banker, with a home right out of Architectural Digest and a pretty wife (played with quiet charm by Prachi Desai) who loves him dearly.
Of course, it doesn’t occur to them that they have the lives that many others would kill for – and the implication that a giant soul-sucking blackness looms over their existence simply because their band broke up and they’re no longer on stage comes off as borderline self-absorption. They’d rather look back at what they’ve lost than be grateful for what they’ve got – it’s as if the possibility never occurred to them that they could still jam outside of the professions that life and growing up have saddled them with – and your impatience with their moping assumes new proportions when you run into Joe’s wife, Debbie (Shahana Goswami).
In a marvellous performance that’s easily the life of the film – and one that, in an alternate universe not ruled by the likes of Katrina Kaif, would rightfully make her a star – Goswami embodies a bustling no-nonsense Mother Earth. Debbie wanted to become a fashion designer, but she’s ended up running her husband’s fish business because he’s too busy feeling sorry for himself to get his butt off a chair and actually make a living – and if she’s unhappy about the course her life has taken, she’s not one to complain.
It’s not that she doesn’t want to complain – but she has no time and energy for fussy railings against fate. She has a husband and a son to look after, a business to run, meals to set on the table, a grandmother to take care of, and you see in her all the men and women who are busy with the business of living. They have no time for the past – they have their hands full with the present and the future. Besides, Debbie isn’t just living her life, she’s living her husband’s too – nagging him to go after opportunities, even if that means swallowing some artiste ego. She loves him, nurtures him, protects him from the world he’s too fragile for, and with her practicality and common sense, she’s the glue holding him (and the family) together. Without her, there would be nothing – and when she can shut up and put up, you don’t see why Joe and Aditya and Rob cannot.
But that’s a practical way of looking at life, and Rock On is, above all, a story of dreams and dreamers. It’s the kind of film where even Aditya’s phone message to his wife reflects the repetitions and rhymes of written verse (in other words, underneath those natty suits beats the heart of a poet). Rock On is a repackaging of a beloved Hollywood formula, and it needs these self-indulgent fictions in order to build to its patented uplifting ending – in order to leave us with bleary eyes and a budding resolve to strum our rusty inner guitars.
What’s odd, though, is that, for a story about a rock band, Rock On is curiously uninterested in the actual business of making music. Apart from a brief scene where the band assembles to rehearse – Aditya outlines the lyrics; there’s some chatter about Rob’s inordinate fondness for the D Major chord – there’s little about the actual creative process. Had the film made us care about their music to the same extent that they apparently care about their music, had it shown us how these people met, how they decided to make music together, how they discovered their sound, how their act rose from small-time lounges and clubs and opening acts to the big time – Rock On would have been a different movie altogether, the one that the promos promised, and one that showed how the pursuit of creation and art can fuse together, if only for a brief shining moment, disparate personalities and backgrounds and egos.
But, slowly, it becomes clear that Rock On isn’t so much a rock movie as a movie in which rock just happens to play a part. (It could just as easily have been… Write On, except that clacking away at a keyboard isn’t quite as exciting as performing on stage.) It’s content to paint, in broad brush strokes, the general feeling of being around a band – as in the beautiful scene where the band reunites (in a cobwebbed rehearsal space, struggling to catch the notes that were so effortless all those years ago) or in the hilariously heartfelt moment that underscores the high of being on stage (when KD launches into an impromptu drums solo). Besides the song sequences, the vibe of the music is dispensed with a few carefully chosen details – a Jim Morrison T-shirt here, a poster of Led Zeppelin’s Mothership there (somewhat anachronistic for the time period). Even the band’s name – Magik – appears watered-down, all touchy-feely and non-threatening to an audience that may not be into rock. (Oh, come on, the odds of a rock band naming itself Magik are about the same as a post-punk group calling itself Barbie.)
Even the relationships don’t exactly revolve around rock – they’re rather generic constructs. The film tells us that Joe (Rampal is very effectively muted to the point of catatonia) and Aditya are great friends because they embrace on stage after wrapping up a number, and because Joe beats up someone who insults Aditya backstage, and because when Joe writes a song, the opinions of the other band members don’t matter as much as Aditya’s. But imagine if this friendship had been forged over the creation of music, and imagine if their eventual falling apart had to do with, say, the McCartney-Lennon dynamics of differing temperaments wanting to head in different directions.
Rock On, instead, spins the romantic notion that the band split up because of having to compromise, because Evil Recording Company Executives (whose uncouth heinousness is underlined by the fact that they pepper their speech with “darling” and “meri jaan”) laid their grubby hands all over the group’s vision. The fact that seven of the band’s songs are going to find their way into the debut album, with only the eighth number being a commercial compromise, is presented to us as a monstrous deal-breaker, when, in reality, aspiring rock groups would be happy if they got to put out a single. Creative types can be painful prima donnas, sure, but these portions are so simplistic (and, frankly, silly), you begin to wonder if Akhtar (who produced the film) is some sort of compulsive compensator – for every step forward he takes our cinema, he just has to take one backwards.
And, at least, if the film dealt honestly with the implications of these contrivances, we might have had something – but Kapoor’s direction takes its cues from the Farhan Akhtar School of Arty Disaffection, where being subtle appears to be the same as being scared to disrupt the clean composition of a scene with messy emotion. At times, this results in frames so lifeless, so juiceless, you’re not sure if you’re watching direction or art direction – a series of still lifes of Akhtar at home, Joe at the dining table, and so on. Perhaps the attempt was to contrast the boisterousness of the past (when they had music in their lives) with the boring present, but there are moments you come dangerously close to not caring.
But like Akhtar’s other productions, if you overlook the annoyances and the could-have-beens – a ridiculously manipulative plot point about a deadly medical condition; the heavy-duty irony of Aditya belonging to a band that sneered at Hindi film music, and now ending up with a wife who knows nothing but Hindi film music – it’s because there are countless little details to savour: the peerless deadpan humour (resulting the funniest moment of the year, where the band sells its soul in order to raise money for equipment), the uncomfortably truthful insights into friendships (reuniting with Rob and KD after years, Aditya feels no warm rush of emotion; all he can say is that they are strangers, “Ab main unhe nahin jaanta,” which is so flippantly casual as to sound cruel), and the lovely detailing of modern-day relationships (the scene where Aditya runs into his ex, while his wife is beside him, is a gem).
And the big details, of course, are the songs themselves, which are rousingly staged. Shankar-Ehsaan-Loy appropriate elements of rock into the traditional outlines of film music – and if it’s a soundtrack that’s less Black Sabbath than Bryan Adams, it still leaves you with the buzz of a great concert. Rock On may not be interested in how music is created, but at least it’s not shy about showing us how music is communally experienced. When Magik goes up on stage, during a contest, Aditya gets the crowd chanting – na na na na – and the song he subsequently sings (Pichle saat dino mein) bounces so enjoyably off this rhythm and draws so satisfyingly from this energy, it’s sheer… magik.
FOR THOSE OF US WHO FEEL we see far too less of the lovely Raima Sen on screen, Sachin Yardi’s C Kkompany is both a blessing and a curse. The film does offer the attraction of the first Sen sighting since Manorama Six Feet Under – but at the cost of cringing at what an actor has to do, sometimes, to keep up with the rising cost of living. At one point, Sen walks into a party filled with television stars, and when asked if she’s a fan of serials, she smiles and nods. And after a suitable pause, she tosses off what’s intended as a rimshot repartee, “Cereals and pulses.” The humour in the rest of this film – about losers (Tusshar Kapoor, Anupam Kher, Rajpal Yadav) who pretend to be an underworld gang – isn’t much better, and it makes you wonder if it isn’t time to declare a moratorium on comedies unless they actually have the potential to make you, you know, laugh.
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without
Aditya Pant
August 30, 2008
Despite all the flaws you very rightly mention, I simply loved Rock On! A lot of that had to do with the fact that some aspects of of the film were uncannily close to a few of my memories. During my college days I was closely associated with a college rock band. No, I was not a part of it, but my best friend was the lead singer and I happened to see them from very close quarters. I have seen how the other members of the group would at times feel that by virtue of being the lead singer, my friend hogged all the limelight and that led to a lot of tension withing the group. And, believe it or not, even the “ridiculously manipulative plot point about a deadly medical condition” actually happened with them. Just last year I learnt about the lead guitarist of the group meeting the same fate as Rob’s. Even though it was predictable, I was shell-shocked when that happens on screen and I guess I lost all objectivity about the film and just chose to ignore all the flaws I had observed in the film till then.
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Nirmal
August 30, 2008
Among the unconvincing discontent of the characters i guess KD was pretty well etched out. He was simply so uncomfortable with anything he was doing , a loser in every way, and the only place he is really home is on a stage in front of the drums..
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Vivek
August 31, 2008
The man, the music, the movies and the Magik!. (With all due respect to Rahman). You really latched on to this one didn’t you.
Looks like ‘Rock On’ the movie itself was an exercise to get you to unleash your brilliant knowledge of music and the movies all at once. Fantastic analysis.
On a sidenote I am happy that Bollywood has recognised that investment bankers are hero worthy material. I can’t resist imagining how it would be if our Tamil movies replace the standard policeman/rowdy hero with a banker.
On another sidenote, did anyone else notice the fact that the guitar riffs in the “Rock On” song were the ones S-E-L used in Lakshya when Hrithik climbs the wall.
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Raj
August 31, 2008
…and one that, in an alternate universe not ruled by the likes of Katrina Kaif…..does being extraordinarily gorgeous count for nothing? 🙂
Great review as usual!
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sakthi
August 31, 2008
Rock on review is wonderfully written. espically the para that speaks about debbie. Words flow naturally forming beautiful sentences. Kudos 🙂
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brangan
August 31, 2008
Aditya Pant: First of all, let’s not call them “flaws,” for that makes it sound as if these are “concrete” defects in here that can be examined against a bright light and pointed out by EVERYONE, thus reducing the value of the film. At the most, these are some issues that *I* had.
Now that I’ve finished the political correctness bit, I absolutely agree with you that it’s an entertaining — and towards, the end, quite moving — film. And I do know that the lead singer hogs the limelight, but I just didn’t care for the *way* it ws presented here, during the filming of the music video. It was childish, to say the least — almost as if the director said, “Okay, I’ve got to address this topic. Let’s get it over with and move on.”
Nirmal: KD was fun, wasn’t he? When you see the humour in such films, and compare them to the outright comedies, you wonder why these people don’t write those movies. I’d love to see Purab Kohli in a comedy, rather than Tusshar.
Vivek: Oh, man – thanks 🙂 But yeah, I really “latched on” to this one. Scene for scene, this movie involved me and spoke to me so much — I mean, setting aside a lucrative job to pursue a dream? 🙂 — that it’s going to take a second viewing to really “see” the film. I didn’t catch that Lakshya riff — but the day I see an investment banker as a Tamil movie hero, I’ll fall off my chair, I swear 🙂 I’d be the happiest person, yes, but I’d still fall off my chair.
Raj: Oh, Katrina has her charms, but they cease to exist for me when she tries to anything more than pose. As a print model, she’s fantastic, I agree.
sakthi: Thank you very much.
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Nirmal
August 31, 2008
BR,I saw the film with not the best of a crowd, and yet there was not a soul who dint burst out laughing in that simple scene where KD couldnt return devika’s compliment:)that makes it quite intriguing to think for whom are ‘ckkompanies actually made..
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Aditya Pant
August 31, 2008
Are you planning on reviewing (writing “opinion pieces”)the other two releases this week?
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brangan
August 31, 2008
Aditya Pant: Nope. Though, even with all the bad reports, I’d like to catch Chamku sometime. I really enjoyed Sehar.
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anuj
August 31, 2008
but why would you watch c kkompany and not mukhbir? Not that its likely to be a masterpiece but at least it sounds promising, and it also has raima sen 🙂
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brangan
August 31, 2008
anuj: Oh, I definitely intend to watch Mukhbir — if only for the fact that Mani Shankar is also a Chemical Engr. from BITS 🙂 Just kidding. I thought 16 Dec. wasn’t bad, though Rudraksh was a disaster. But for review purposes, it was just a logistical consideration that these two films were playing back to back.
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Sanjukta
August 31, 2008
Was waiting for this review. Came here on friday night to see if its up, wanted to read yours before I wrote my thoughts… I wrote mine anyway since your weren’t up till yesterday.
Great review. Agree with Aditya, I could see all those faults you spoke about too, yet I loved Rock On. It was not like watching a film, it was like being in a rock concert, you are continuously tapping your feet, you can barely sit still, you feel like putting your hands up in the air and sing along with the rock stars.
Thanks for the para on Debbie (Shabana Goswami) I couldn’t find enough words to express how special that character was.
But I was hoping you’d write something for Arjun Rampal. Didn’t he surprise us all? This was the kind of roles he needs to play, the one where he has to do less talking. I think he deserves a bit of appreciation no?
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Raj Balakrishnan
August 31, 2008
Baradwaj,
Didn’t know that you were an expert in music too! Great analysis, as usual. I could really identify with the theme of movie. I did not really have the courage to follow my dream of becoming a photographer / cinematographer and instead chose the relatively ‘safe’ option of Chartered Accountancy. I too am a person always looking back at what I’ve lost rather than being grateful for what I’ve got.
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Raj Balakrishnan
August 31, 2008
Just one more point on this ‘investment banker’ thing. Seems that the makers got mixed up between an investment banker and a financial/wealth management consultant. Investment bankers generally do not give personal financial advice.
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brangan
August 31, 2008
Sanjukta: The reviews usually go up Saturday night. “This was the kind of roles he needs to play, the one where he has to do less talking.” I not sure this is a compliment, but yeah, I feel he does come across better when not asked to “act”.
Raj Balakrishnan: Yup, that white-collar wish-fulfillment aspect is why I feel this will become a big hit. And I think that advice he gives was just so that they could get a laugh out of his signing off with “Jai Shri Krishna” 🙂
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Sid
August 31, 2008
I wish they’d done more with the material — there were several other possibilities. Dunno about you, but the “brain tumour” bit was a little too much for me. Apart from that, great performances and fantastic music — I think it’s a very good film, just not the “great” film I was expecting it to be.
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Rags B
September 1, 2008
BR, the film gave a very good breeze of some soul stirring music and rock conerts. But I felt the movie lacked that killer instinct of a ‘rock’ genre that you have aptly mentioned (movie not concentrating on how the group was formed or any dynamics as such). THis was my idea of the movie and I expected some real Rolling Stones or The Doors history. (I reckon the movie is loosely based on the history of The Doors).
Also, the direction at times looked a little dragged that left me wonder if that was necessary. The director could not have matched the narration as done in Dil Chahtha Hai (which had a similar screenplay). Nevertheless, it was a real breather to watch some fantastic music and spot on performances by KD and Debbie. Farhan has a long way to go when it comes to acting, I suppose.
Inspite of the flaws, I might go for a second viewing, because the movie does offer some great moments. Whats your rating?
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Suganth
September 1, 2008
Hi Baradwaj,
Nothing on Wall.E? 😦
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Prakash
September 1, 2008
I am sure the concept of “a musician becoming an investment banker after leaving his band” is lifted from AUGUST RUSH- where the protagonist (John Meyers, a singer/guitarist himself) becomes an investment banker in Manhattan after quitting his band as a lead guitarist and vocalist!
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SDBurman
September 1, 2008
hmmn – was skeptical on bollywood’s take on rock, but maybe not so now…also, thanks for keeping my name’s memories alive. Write on my wayward son…oh yes, I picked up the woodstock dvd recently (after losing my original director signed (yes) VHS copy ages ago) – recalled how i made one afternoon miserable for my ‘backie’ with a copied audio tape of the concert film. rain chants of the crowds and hendrix’s blistering attack on the star spangled banner, amongst the lovely smells of the sweet leaf, wafting thru the ‘venti’ 🙂
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brangan
September 1, 2008
Sid: Actually, I didn’t have a problem with the tumour bit as such. What annoyed me was how manipulatively it was used, just so that we’d care about the final concert more. And despite that, the focus is on Joe and Aditya, with poor Rob being sidelined. So I wondered, why have that in the first place? Just so the character would contribute in some way to the climax?
Rags B: Oh, I don’t think it’s The Doors specifically. You take 100 bands, and 99 of them would have similar stories about the lead singer getting more recognition and so on.
Suganth: Dude, it *just* came out…
Prakash: Hmmm… that’s interesting, though the “investment banker” concept here is basically to show he’s made a ton of money in a job he doesn’t love. Haven’t seen August Rush. Is it as generic there, or does the film actually do something with this idea?
SDBurman: Thanks for dose of nostalgia — though it’s interesting how the “wayward” epithet has quietly descended from pere to fils. And I’m sure Rock On will play better if you watch it amidst “the lovely smells of the sweet leaf” 🙂
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Aditya Pant
September 1, 2008
BR: “You take 100 bands, and 99 of them would have similar stories about the lead singer getting more recognition and so on.”
And the remaining one would have the lead guitarist getting more recognition, right? (Blackmore, Page, et al) Any instances of the drummer, or the keyboard player hogging the limelight?
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Shankar
September 1, 2008
Aditya, in the movie world, an example would be the film “That thing you do”…where Tom Everett Scott the drummer gets the girl (Liv Tyler) in the end and is the hero of the film. Though the movie borrowed generously from the Beatles life story and is mushy, I liked it when I watched it.
Coming to Rock on, I haven’t watched it yet though I did feel the soundtrack was trying a little too hard. I guess SEL had to keep commercial interests and the Hindi film format in consideration while scoring the songs. If I expected something along the lines of Audioslave, Stone Sour, Shinedown or Tool, that might be asking for too much!! How is the BGM for the film?
SDB, glad to see you kickin’ and rockin’…
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NKann
September 1, 2008
Vis a vis your response to Prakash’s comments
Aditya could have been anything, why just a banker (why not an IT professional or a real estate wheeler dealer) if the intention of the director was just to give him a viable job that justified his riches. Methinks the director ‘perceived’ an investment banker to be diagonally opposite to a musician – disciplined vs carefree, sociable vs reclusive…
But then, its just my opinion and I’ve seldom seen you agree to any counter-point to your own argument in the comments section of your blog 😉
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brangan
September 1, 2008
Shankar: Yeah, that’s a good one. I really like the film. Didn’t find it very “mushy” – from what I remember. (Not that mush is a bad thing.) And come on man, this is still a film soundtrack. I think they did a great job within those parameters.
NKann: “disciplined vs carefree, sociable vs reclusive… ” Actually, I don’t think it’s any of this. IMO it’s simply left-brain vs right-brain. The concreteness of numbers vs. the abstractness of music. That’s why it had to be some profession dealing with number-crunching. That’s what I meant in the comment – “a job he does not love”. It’s that romantic notion again.
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Tejas
September 1, 2008
@Aditya – Metallica. Lars Ulrich is at least as much famous if not more.
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brangan
September 1, 2008
Tejas: If that’s the criterion, you could include the likes of Slash and The Edge. But I think he’s asking about the “face of the group,” so to speak.
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Mithun
September 2, 2008
Why is it that I love the songs only after watching the movie? Does this take anything away from the music directors in that the music by itself is not good enough to stand on its own (for me atleast)?
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Ramesh
September 2, 2008
Enna BR, Raima Sen Nokia ad la varangale. Anga pakalame 🙂
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Satish
September 2, 2008
Nice review, as always. One random thought –
“the heavy-duty irony of Aditya belonging to a band that sneered at Hindi film music, and now ending up with a wife who knows nothing but Hindi film music”
I have a different take on this one..wondering if Akhtar is also making a statement on the absence of/need for a “Hindi-Rock” campus/youth culture where traditionally, Rock-music coolness has always been closely tied to “English” songs/lyrics. Its as though he is asking – why hasn’t a ‘Junoon’ (the urdu/hindi lyric based pak rock band which had a fairly intense cult following those days) come thro our campuses?
Given that Bollywood (Hindi lyrics) are such an integral part of youth culture in a majority of our country, why shouldn’t rock music and hindi lyrics go together?
For me, the timing of the ‘ajeeb dastaan’ scene in the movie – its at a point where Adi’s relationship with his wife has evolved from being one of ’emotional distance” to “more like close friends”.. he completely understands, wants her to stand up for good Hindi film music, because its music anyway..
was Akhtar’s way of saying that you’re cool even if you know only hindi film songs.. whats more important is to let yourself go/find your inner voice always, etc..
As i said, totally random. 🙂
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brangan
September 2, 2008
Mithun: I’m afraid you’re going to have to answer that question yourself 🙂
Ramesh: Aana adhu big screen illeye 🙂
Satish: That’s a lovely comment. I don’t quite see that this scene is an endorsement of the “absence of/need for a “Hindi-Rock” campus/youth culture,” but I agree with the latter part of your comment. “you’re cool even if you know only hindi film songs..” It’s also the mellowing that comes with age, where you (i.e. Aditya and co.) become more accepting of things that you were rigidly dismissive of earlier.
I was just annoyed by the *way* it was staged. I’d have had more respect for the scene had she been given the mike (after KD’s riotous I Will Survive) and had instantly, defiantly launched into Ajeeb dastaan hai yeh – and if the rest of them, after a moment’s stunned silence, had swayed along.
I didn’t care for the “irony alert” of her first saying, “Oh, I don’t know any English songs,” and then being reassured, “It’s okay…” and THEN beginning to sing. I felt too much audience-alerting fuss was made over the fact when a casual unfolding of the song would have been a real slap-in-the-face situation.
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raj
September 2, 2008
“…let’s agree to disagre”
Much abused phrase:-)
I see it as a refusal to engage with the possibilities of examining one’s thought-process.
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brangan
September 2, 2008
raj: And I see it as a refusal to bang one’s head against an unyielding wall. Let’s face it, when it comes to discussions about the merits of Hindi cinema, we both know how the argument is going to turn out. (We’ve had far too many of these back-and-forths.) We might as well agree to disagree and save ourselves the time and trouble 🙂
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Vivek
September 3, 2008
“This sort of hero-giri you expect in a Sunny Deol film by Guddu Dhanoa – but in something so intelligent, so well-made, that isn’t about war itself as much as the attainment of one’s lakshya? Then again, these expectations are our problem, not Farhan Akhtar’s.”
-your Lakshya review
Farhan has grown up post Laskhya don’t you think?
To make something as niche as rock and make it into something that gets you a solid lump in the throat eventually.
For all its patriotism, Lakshya did not for a minute bring that feeling, which somehow a movie on rock music yearnings of an investment banker has.
Also incidentally noted a contradiction- in your Jodha akbar review you note
“To make an epic entertainment out of all these disparate elements is perhaps impossible without a dash of go-for-broke madness, and Gowariker is too sane a director, too methodical, too… nice. What he’s very good at is in filling in the emotional landscapes of people –think of the moment in Swades when Shah Rukh Khan finally comes home, by drinking water that isn’t bottled – and when he moves beyond people and into politics, he’s plainly out of his league. ”
However earlier in Swades you start with this
“FEW RECENT DIRECTORS have delivered more go-for-broke filmmaking than Ashutosh Gowariker did in Lagaan, particularly when Aamir Khan, armed with a crude bat, tries to convince fellow villagers that cricket is child’s play. As they watch, he misses the ball, he misses again… and when he finally connects, it isn’t just a six, it’s a six that strikes the bell at a temple on a nearby hillock, thereby vindicating Aamir’s stand – why, the gods themselves have spoken! I’d have laughed at this corniness, had only my jaw not dropped that someone had actually made such a madly audacious sequence work.”
So is Gowariker go-for-broke or not ;)?
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Satish
September 3, 2008
BR- Agree with you that the ‘ajeeb dastaan hai yeh” scene was a bit corny & could’ve been better, but also thought it was in touch with Prachi Desai’s character.. a woman whose identity as an individual is almost wholly subsumed by the love/aura she has for her husband.. (remember her earlier wistful conversation with Koel Purie – on the lines of ‘tum itne independent ho… mein ek biwi, aur ab maa hoon’, etc. – For her to defiantly launch into ajeeb dastaan hai yeh (esp fter KD’s riotous act) without any diffidence, without the reassuring nod/look from her hero(husband) that she “fits in”.. would have been out of tune with her character in the movie.
My point on the Hindi lyrics-rock music connection was not so much only about this scene, but on the movie overall. Rock On, as an idea, obviously lends itself to be made as an Indie – mainly English dialogues – movie with English songs (assuming for a moment that Akhtar did not have to think about commercial considerations). I mean, the band’s major influences are 60s/70s classic rock, they all seem more comfortable with English as their primary(music) language, etc. But I thought Akhtar is alluding to the fact that there is space in our youth culture to “think” in Hindi and yet be part of a vibrant, “indian”, rock ethos.
The ajeeb dastaan scene no doubt reflects the evolution of the akhtar-desai relationship, akhtar’s mellowing with age, etc… wondering if it was also a subtle reminder of this other larger theme (you can “think” in Hindi/grow up with hindi film music , and yet be an ultra cool rocker).
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brangan
September 3, 2008
Er… Um… cough-cough… fidget-fidget… Maybe you could say he was go-for-broke in that one film? 😉
Seriously though, there was a discussion on an earlier post — can’t recall which one offhand — where someone had argued that Lagaan was Gowariker’s film to the extent that Mahanadhi was Santhanabharathi’s.
It’s funny to see past reviews, for the opinions you had then versus the ones you have now. If you asked me now, I’d say I define AG by his work on Swades and J-A and not Lagaan. In that sense, I wouldn’t call it a contradiction so much as a re-evaluation.
BTW, if you are on a digging spree and if you feel like dredging up other such then-vs-now differences in opinion, please do so. Reading those two passages made me wonder, again, how someone who could pull off a Lagaan could end up making something as (mostly) toothless as J-A.
Also, from your comment (“Farhan has grown up post Laskhya don’t you think?”) and from Satish’s above (“I thought Akhtar is alluding to the fact that…”), and even my review (“for every step forward he takes our cinema, he just has to take one backwards”), it’s interesting to note the implicit assumption we allude to, that Rock On is Akhtar’s baby. Poor Abhishek Kapoor 🙂
Satish: Once again, a nice insight. Thanks. And going by the number of people who’ve latched onto (and made personal) so many individual moments, I wonder if we aren’t seeing a new trend in filmmaking with JTYJN and Rock On — where the “story” is just a functional clothesline to hang some excellent writing and moments on, which is the main thing you carry away. In both these films, there’s a constant mix of the present and the past/flashback, which eliminates (or, at least, makes less important) the need for a cohesive start-to-finish “present day” story to carry the movie through. Of course, it’s too soon to tell.
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Vivek
September 3, 2008
Actually now that I come to think of it, Abhishek Kapoor was probably more the moderating influence that Farhan needed to make his movies more palatable to the (discerning?) Indian tongue (aromatic masala laden hot servings as opposed to his perfectly garnished caesar salads earlier).
And frankly Aamir couldn’t have pulled off a Lagaan all by himself. He is a details man in my view, the grand imposing vision of a Brit empire and overarching theme wouldn’t be possible without Gowariker the big ideas guy. A little like how Bill Gates the visionary needs Paul Allen the operations man.
I remember KB talking about Kamal in Virumaandi’s release event. He talked about how Kamal needed a strong guide to channel his 10 billion ideas and thoughts into something coherent.
Going by the numbers media is talking about, I guess Farhan has found his guide.
I just hope its not KS Ravi Kumar for Kamal
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brangan
September 3, 2008
Vivek: I don’t see Rock On as being “aromatic masala laden hot servings” at all. It’s very much a Caesar salad. If anything the second half of Lakshya would fit that description better 🙂
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Rahul
September 3, 2008
I didnt understand that “manipulation” part ,where does one draw the line,even Aamir said the same thing about SLB regarding BLACK and AB replied back saying something like that what was the lower caste character(the spinner) doing in LAGAN ,wasn’t that manipulation,
On the whole review was very good ,as always
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raj
September 4, 2008
BR, actually I differed with you on S.Puram as well. So, to behind “your views on Hindi cinema are like this only” is actually, well, actually a very clever usage of stereotpying. (I do appreciate that, you know.). Never mind.
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raj
September 4, 2008
“I do appreciate that…”
“I do appreciate that cleverness…”
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db
September 4, 2008
seen on rediff message board:
“Rock On is nothing but masala entertener for this [#$%^&^] elite class”
Gotta say, the man might have a point! 🙂
I actually found DCH and RO a bit too similar.. given a slight stretch of imagination, RO could be the DCH guys at 30! The same “yaari dosti” theme, the same “poor little rich boy tries to find his place in the universe”, the same rupture and eventual repair of friendship.. and so forth.
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brangan
September 4, 2008
Rahul: I guess one draws the line depending on the result. A random one-off scene where someone is diagnosed with a disease, and this being a development that doesn’t even contribute majorly in the finale (where the focus is on the others) — I guess that feels like “bad” manipulation.
raj: Yes, but when we disagree on tamil films, you don’t feel the need to pound me into submission with your POV, whereas with Hindi films, you get all worked up.
A simple, inconsequential post (on Pascal Heni) where I had some fun with a bit of Hindi lyric made you instantly fulminate. You called it “atrocious writing,” while in the same post there were a few French phrases that didn’t bother you at all. That’s what I mean.
Something about Hindi and Hindi cinema and the media that covers Hindi cinema sets you off, and there’s no hope for a “dialogue” after that. That’s why I said let’s agree to disagree. That’s all.
About stereotyping, I guess we’ve both done enough of that (you with your “stockholm syndrome” views) — so again, it’s nothing new.
db: That’s one way of looking at it. You never know what the rediff message boards will yield 🙂
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Prakash
September 4, 2008
Baradwaj, PLEASE see August Rush, its a marvellous movie! The investment banker concept there is to show that though he makes a lot of money as a IB, he misses his past as a musician in a rock band & ultimately rejoins his band too, though it is only a subplot in the movie. The actual plot is something fantastic, which I would leave you to discover when you watch the movie-I don’t want to spill the beans!
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brangan
September 4, 2008
Prakash: I’ll try to see if I can get hold of it. Is it out on DVD?
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Vivek
September 4, 2008
Raj seems to be doing a bloody good job of pissing you off :).I am sure whoever he is is having a super laugh with your detailed explanations to his jabs
Also I wonder why investment banking has become such an easy metaphor for “successful but unhappy” yuppies. I wouldn’t exchange my job for all the guitars in the world.
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pri
September 5, 2008
err boss kindly do not watch august rush. http://bengloorgirlindenver.blogspot.com/2007/11/this-is-why-one-must-never-agree-to-go.html
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Soumya
September 5, 2008
I think your comparison of SDB and Rafi is not spot on. I do get your point. But SDB was a trained classical singer who could navigate the octaves effortlessly. His voice had a rough quality which made it ideal for folk music but it was always in tune.
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Prakash
September 5, 2008
BR-August Rush is out on DVD, you should find it anywhere. Regarding Pri’s comment, I DEFINITELY think otherwise. It was a brilliant movie but you are entitled to your opinion. Let Baradwaj decide if he liked it or not!
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raj
September 5, 2008
Vivek, ha! you tell me.
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raj
September 5, 2008
BR, I’ll tell you where exactly it riles me – the writing on Hindi movies – it is at that point when natl-award winning critics praise the Khan brothers for their ‘performance’. Thats just suspension of disbelief on the part of the critic.
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Aditya Pant
September 5, 2008
Raj – You must first watch JTYJN and then get upset about the “national award winning critic” saying that the Khan bothers were “at their riotous best as dimwit brothers”.
If my assumption that you haven’t watched the film is wrong, I apologize but going by your comments it does appear that you’re only reviewing the review outside the context of the film being reviewed.
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brangan
September 5, 2008
Vivek: No, no – there’s no one pissed off here, even if we may *sound* that way. These arguments have been a part of this blog for years now. Even Aditya has found his way into them at times, poor fellow 🙂
pri: Uh, okay…
Soumya: I got the same comment for an SDB post I did earlier. I was merely referring to the “type” of voice that came through rather than the training etc. that went into it.
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prashanth
September 6, 2008
Hello Baradwaj,
I really liked you review-the first para was absolutely brilliant and perfectly described the movie.
Yeah, some of the parts were really rushed and I would have definitely liked to see more bits about how the group came together but I was really amazed to see two things in a Hindi movie! – 1) a woman slap a guy’s butt and 3) the heroes wearing Doors T-shirts!
Also, by any chance have you reviewed Almost Famous? I tried looking up your review but I couldn’t find one. Now, that movie is bloody delight!
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brangan
September 6, 2008
prashanth: Thank you. About Almost Famous, I didn’t review it for a publication, but I did write an informal piece on it. I’ll see if I can dig it up.
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Anand
September 6, 2008
Satish…Good observation. I agree with you..It would have been out of tune with Prachi’s character. The other lovely thing about her character is though she sees the video where Aditya is close with his ex but never once she discusses it with any of his friends not with him.
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Pradyumna
September 6, 2008
I personally liked Rock on!! Though i agree that they should have focussed on how the band got together and how they created their music..
Btw.. you didn’t have anything to say about the choreography ?
Btw anyone noticed that there were quite a few things from Farhan’s previous productions?
KD talks about a trip to goa[DIL Chahta Hai]
Guitar riff in the title track[Lakshya]
Arjun rampal tells the lead singer of “Chakravyuh” : Pichle baar bhi haar gaye aur agli baar jeethe tumhaare liye namumkin hai.[Similar to one of the most famous dialogues from DON]
During the climax you see the camera focussing on Reema Katgi[Director of Honeymoon travels..]
…
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Anand
September 6, 2008
Pradyumna..Great comment!! I missed this self referencing completely, probably because it was so subtle?!!!
Just thinking about the ‘in-your-face’ self referencing in Saroja.
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Pradyumna
September 7, 2008
Anand : Ty 😀
I really didn’t think that it was that subtle actually.. 😀
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brangan
September 7, 2008
Pradyumna: Interesting connections… though the DCH vibe may be just that Akhtar is a self-confessed Goa addict 🙂
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Rk
September 8, 2008
I enjoyed your review and the comments.
I was tempted to post my post as a comment here..but that would be spamming your comments section…
so just leaving a link..
http://rkblogs.net/blog/2008/09/05/rock-on/
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the mad momma
September 11, 2008
have you heard Farhan auditioning?
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Radhika
September 14, 2008
[i]and if she’s unhappy about the course her life has taken, she’s not one to complain. It’s not that she doesn’t want to complain – but she has no time and energy for fussy railings against fate.[/i]
hullo – she is perpetually railing against fate – where did you see her as stoicly carrying on? i thought what came across was how they all gave up on their dreams, including her – and only two of them even kept links with music – the others excised it out of their lives in a gigantic sulk against life.
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Radhika
September 14, 2008
heh, tried some italicising in the earlier post which sadly fell flat.
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Rohit
September 15, 2008
hi brangan,
I regularly read your reviews and most of the time find them spot on.
I very much liked the “DCH” treatment of Rock On!! and sort of hoped that we may have another new rising director in Bollywood. But my hopes were crashed after learning that RO MAY be a copy of “The Happy Life”, a korean movie released in 2007. See this link,
http://www.koreanmovie.com/The_Happy_Life_kmintro_541/
Though I havent seen this movie, doesnt the DVD covers at the bottom give a sense of Deja Vu.
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Shankar
March 30, 2013
What do you think of Farhan now forming a band and touring cities? Think he’s getting carried away? 🙂
Guess the point is, would someone pay to watch Farhan perform on stage? Especially in real life…hmmmm!
But gotta say, this guy is willing to try different things. I’m eagerly awaiting Bhaag Milkha Bhaag, both for Rakesh Mehra and Farhan.
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