The song from the film Taal, " Karia Na" was recorded for Subhash Ghai's unreleased dropped film " Shikhar".When Anil Kapoor was offered for his role he suggested to Subhash Ghai that only Kamal Hassan could do the role, but later was convinced by Ghai to play the role and acknowledged it.
#Taal movie shahid kapoor series#
#Taal movie shahid kapoor movie#
In fact, it wouldn't be wrong to say that every song in the movie was a well composed, spectacularly shot music video in itself, and a relic of the 90s when a good music video was what made your song immortal. Anil Kapoor's energy and Akshaye Khanna's trademark restraint acting donning that red scarf with the word 'Manavsi' written on it took Taal to the pinnacle that it now rests on. This was peak Shiamak, and a young Shahid Kapoor could be seen as a background dancer around Aishwarya Rai, who BTW stunned in every frame she was in, whether as a simple village belle or the singing sensation. 'Kahin Aag Lage' and 'Ramta Jogi' deserve special mentions because the way they've been choreographed and shot. For example, Richa Sharma's 'Ni Main Samajh Gayi', or Sukhwinder Singh's 'Kariye Na' aren't just album fillers, but beautiful compositions with lyrics that touch the heart. But the beauty of Taal's music album lies not in its crown jewels but in the other songs that are almost as mesmerising if not more than the notable ones. Taal has an instrumental track called 'Beat of Passion', performed by percussionist Sivamani that I dare anyone to not enjoy. And the song would feel like you'd never heard something like that before. Every little sound added something to the final product. Whether it was the sweet Sufi innocence of first love, dripping from every syllable of 'Ishq Bina' or Sukhwinder Singh's sargam interspread with Alka Yagnik and Udit Narayan's rendition of 'Taal Se Taal Mila', or Hariharan re-instiling belief in true love with the soft 'Nahin Saamne', there was an ethereal quality in each and every song. But A R Rahman outdid himself, and the album remains one of my favourites by the maestro. It would've been disastrously ironic if a film called Taal had bad music. Because along with the CD of the film's music, there was an additional CD with some of Rahman's and Ghai's greatest hits. Taal's CD packaging was quite memorable too, a true collector's item. It became the best-selling soundtrack of 1999, selling some 4 million units. In fact, the accolades and international recognition it got was for its music primarily. It was undoubtedly A R Rahman's music and Anand Bakshi's lyrics, accompanied by Ghai's showmanship and Shiamak Davar's choreography, that took the film to the fever pitch. It opened in several film festivals and even merited a mention from noted film critic Roger Ebert. When stripped of all its fanfare and glamour of a big budget film from a reputed production house like Mukta Arts, and the dazzle of its dream cast of Aishwarya Rai, Akshaye Khanna and Anil Kapoor, Taal's story was too cliché to make a ripple on the surface.Īnd yet, Taal became the first Indian film to get on Variety magazine's Top 20 list. And music played the important role of connecting those three dots by flowing through them. Taal was positioned as a romance, a love triangle to be precise. It got the girl, it got the guy, it got the applause too. In Subhash Ghai's 1999 blockbuster Taal, music was the hero.
Where the songs are necessary accompaniments to further the story, as opposed to force fed interludes that do nothing for the film except prolong their runtimes. But very few Bollywood movies will get the spirit of a musical right. Nobody does musicals like Bollywood, that's a general consensus.
0 kommentar(er)
