Soundtrack – Movie Review
Posted by FATEMA H.KAGALWALA on October 9, 2011 | No Comments
PRODUCER – Sanjiv Goenka, Apurv Nagpal
DIRECTOR – Neerav Ghosh
CAST – Rajeev Khandelwal, Soha Ali Khan, Mrinalini Sharma, Mohan Kapoor
MUSIC – Midival Punditz, Karsh Kale, Kailash Kher, Vishal Vaid, Laxmikant-Pyarelal, Ankur Tewari, Papon
A calling needs no rationale. As Maslow said, ‘What one can be one must be’. Raunak Kaul is a musician and a helpless one at that. He hears rhythm in every sound and recognises the music in every element. He starts as a fancy-free spirited small-town lover of music living out his dream and his father’s inheritance (the talent for music) in Mumbai. Armed with an indomitable spirit, he soon becomes a well-loved DJ. His meteoric rise to stardom spurns a life of excess and degeneration. Success begins to turn him into a possessed person haunted by his own alter ego. His psychedelic life, full of pool parties, drugs and sex soon ends with a bang and we see a devastated Raunak caged in a room for months trying hard to come to terms with his despair.
Gauri comes into his life as a breath of fresh air. Hearing and speech impaired, she is a lip-reading teacher. With her we see a mellow Raunak, trying to put his life back. He gets music back into his life, becoming an overnight sensation yet again. Only to astonish the world with his choices.
The film is an official remake of the Canadian cult film, ‘It’s All Gone Pete Tong’. Rajeev Khandelwal plays Raunak, the temperamental, edgy musician. The film takes him through a gamut of emotions with a vengeance and Rajeev delivers with a vengeance.
The film constantly references Beethoven, the deaf genius who created music long after he couldn’t technically hear. Structured as a documentary, it moves back and forth between Raunak’s story and snippets of people’s recollections about him. That becomes an intriguing narrative tool and ensures the film avoids over-sentimentalising its protagonist. The film is written with a unique objectivity that presents Raunak as an individual with all his flaws and strengths etched with a distance. No emotion or pity is invested in his or Gauri’s impairments. Their relationship is breezy and so is Gauri’s character, playing the somewhat clichéd foil to Raunak’s intense character effortlessly. She is presented as a young, optimistic flame of life and symbolically styled in pretty, bohemian clothes and randomly strewn curls. Soha lisps cutely throughout and enacts the language of the hearing impaired seamlessly, seeming one with the character at all times.
Both, Rajeev Khandelwal and Soha Ali Khan dig in their feet in their characters and stay put. Rajeev displays his typical flair appealing when fiery, attractive when intense and convincing when desperate. The director places his characters within a realistic setup and barring a few secondary characters creates a tangibly real world. The film travels the whole trajectory of passion, destruction and regeneration that is a given for stories about fighting spirits. It tends to focus on the journey more than the psychological aspect of its character and waters down the impact largely because it is in the implications of the events on the characters wherein the real meat of the story lies. The film somewhat brushes that aside and lets itself become yet another never-say-die film about a legendary prodigy.
For a film revolving around music it lacks stunning music. However, it is unconventional and earthy enough to remain true to the spirit of the film. There isn’t anything fancy or earth-shattering about it but there is heart and as movies about life-changing events go, that’s a lot.