Yeh Honsla (Candlelight Cover) – Aakash Gandhi (feat. Jonita Gandhi)

Yeh HOnsla (Candlelight Cover) – Aakash Gandhi (feat. Jonita Gandhi)

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Teri Meri (Bodyguard) Acoustic Cover – Aakash Gandhi (feat. Sahil Khan)

Teri Meri (Bodyguard) Acoustic Cover – Aakash Gandhi (feat. Sahil Khan)

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Phir Mohabbat (Murder 2) Acoustic Cover feat Aakash Gandhi & Sahil Khan

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Kumar Sanu’s top 10 Rendition-Dedicated To Ali bhai.

1. Kitna pyaar tumhe karte hain,aaj hume maloom hua/Ek Ladki To Dekha To-EK ladkaa Ek ladki/1942 A Love Story 2. Mera Dil Bhi Kitna Paagal hai- Saajan 3. Tujhe Dekha to yeh jaana sanam-DDLJ 4.Kaash tum mujhse ek baar kaho-Aatish … Read More

Film Review of EK – THE POWER OF ONE by Aakash Gandhi

EK – THE POWER OF ONE
Film Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  5.5/10

EK – THE POWER OF ONE is vintage Bollywood masala, flooded with action, drama, comedy, and of course romance. Unfortunately, like most in its category, it fails to leave any lasting impact thanks to a very familiar tale wrapped in an oversimplified script.

The story chronicles the split life of orphaned criminal Nandu (Bobby Deol), who is hired by Maharashtran Opposition Leader Anna (Sachin Khedekar) to stage a fake assassination attempt in order to gain sympathy from the masses. However, before Nandu is able to pull the trigger, another fateful shot takes the life of Anna, transforming a slimy political trick into a full-on murder case.

With the police fresh on his trail, Nandu escapes their grasp by catching a train to Punjab where he runs into Puran Singh (Akshay Kapoor) – a down-to-earth twenty-six year old on his way to reunite with his estranged family after eighteen long years. At one of the stops, an officer spots Nandu and takes a shot that accidentally strikes Puran, killing him on the spot. Nandu reaches Puran’s village to deliver the grave message, but before he can say anything the family mistakes him for their beloved Puran. Unwilling to break their hearts, Nandu continues the charade and is soon enveloped by the family’s warmth and love. All the while, witty CBI Inspector Rane (Nana Patekar) is hot on Nandu’s trail. Will Nandu surrender his true identity to the family? Will Nandu be prosecuted for a crime he did not commit? These are some of the burning questions that develop throughout the film.

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Film Review of GULAAL by Aakash Gandhi

GULAAL
Film Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  8/10

From the dark and fascinating mind of Anurag Kashyap comes a film that chronicles the growing underbelly of shady politics and how the innocent quickly become the guilty.

The man is simply incapable of writing a straightforward script. He’s unknown to the colorful history of Hindi cinema. He’s simply disgusted by the proverbial “box” and is hell-bent on running as far away from it as possible. His thoughts are twisted and his vision is blurred. And I love him for that…

Anurag Kashyap’s notorious past is well documented. His films have garnered wide speculation and attracted controversy and confusion. Due to their murky content however, they’ve been unable to reach any sort of commercial success (Dev D. finally breaking this trend to a certain degree). But something tells me that Mr. Kashyap could care less.

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Music Review of SIKANDAR By Aakash Gandhi

SIKANDAR
Music Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  7.5/10

Any film bearing the name “Sudhir Mishra” generally means two things: 1) Art-House Cinema at its introspective best, and 2) A melodiously soul-stirring soundtrack. Be it Hazaaron Khwahishen Aisi, Chameli, or most recently Khoya Khoya Chand, Sudhir Mishra’s work carries an ethereal touch of elegant beauty rivaled by few in the fraternity. However, with SIKANDAR, Mishra assumes a role that he has assumed sparingly in the past – Producer.

Director Piyush Jha (Chalo America, King of Bollywood) is the man in charge of upholding the tremendous legacy of Mishra – a daunting task nonetheless. The chain of pressure further flows onto the new kids on the block, Music Directors Justin-Uday, who recently composed the very average soundtrack of Hijack. MDs Shankar-Ehsaan-Loy and Sandesh Shandilya feature as guest composers.

Guest composers Shankar-Ehsaan-Loy begin the soundtrack with a terrific composition in Dhoop Ke Sikke. It seems like SEL have found impressive comfort in the Rock genre, fresh off one of their most successful scores – ROCK ON!!. Once again, SEL soar through the drumming percussions, rhythmic cymbals, and soulful distortion guitar – adding what seems to be their new signature style. Melodically, SEL compose a soothing balance between soft soul and energized passion. Anushka Mani’s fragile vocal intro and interludes are beautifully addictive! The meshing reaps more returns as Shanka Mahadevan’s sargam interludes liquefy eastern vocals atop purely western beats – musical synergy at its best! To top it all off, Prasoon Joshi brings back memories of his work with SEL in the much underrated soundtrack of Phir Milenge, as his mastery over imagery is only augmented with this uplifting number. Verdict: Let it grow…and you too will realize its feel-good power.

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Pussycat Dolls-A.R. Rahman’s “Jai Ho”

Check out this collaboration between A.R. Rahman and The Pussycat Dolls for the Oscar winning song “Jai Ho” from Slumdog Millionaire.

LINK

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Movie Review of DELHI-6 by Aakash Gandhi (6.5/10)

DELHI-6
Movie Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  6.5/10
An eclectic landscape of new versus old, Delhi-6 is a mirror image of almost every unforsaken corner in India. She represents the growing trends of globalized transformations and passionate blends of cultural clashes. Director Rakeysh Omprakash Mehra undertakes the daunting task of scratching beneath the surface. He creates an exposé that Is meant to make us look inward before throwing blame externally.

Roshan (Abhishek Bachchan), an American-born NRI, embarks on a life-changing journey as he escorts his ill grandmother (Waheeda Rahman) back to her homeland in Delhi. Upon arriving to the foreign country, Roshan becomes immediately engulfed in the clashing lifestyles of the city’s residents. His initial reactions are those of ignorance and wonderment, like a pioneer trekking through unchartered territory. Soon enough, the thrill of new adventure turns into a serious awakening of sorts.

It is this awakening that exposes the darkened depths of human character. Roshan realizes that the people are heavily plagued by corrupt values and are always on a quest to find and torch the demons of the world, failing to realize the demon sits within them.

Mehra personifies this demon through the metaphorical usage of the Kaala Bandhar (the Monkey Man). The centre-point of the film’s narrative, the Kaala Bandhar represents the immoral values of hate, greed, envy, prejudice, etc. Unfortunately, writers Mehra and Prasoon Joshi would have been wise to create a more subtle parallel, as the non-existent Monkey Man quickly overshadows the script’s focus and duration. The Ramayana symbolisms could have been done away with as well.

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Luck By Chance Film Review by Aakash Gandhi (7/10)

LUCK BY CHANCE
Film Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  7/10

The creative minds behind Excel Entertainment bring us the family production of LUCK BY CHANCE. While Farhan Akhtar continues as Producer-Actor after the highly successful Rock On!!, his talented sister finally saddles the director’s seat to provide a modest behind-the-scenes look at the Hindi Film Industry, and two aspiring wide-eyed dreamers struggling to turn their hopes into reality.

Zoya Akhtar’s story seems like it has been taken right out of the pages of a Madhur Bhandarkar script. The film tells the tale of two aspiring actors, Vikram (Farhan Akhtar) and Sona (Konkona Sen Sharma). Vikram, who has just finished up an acting diploma, begins sifting through Mumbai hoping to hit the jackpot role. Meanwhile, Sona is a struggler who has been doing miniscule roles for the past few years. She’s doing this all under the guidance of her friend/producer Chaudhary (Aly Khan), who promises that he’ll give her the big break she’s been yearning for. From here, the two players begin a roller-coaster journey that takes them through a maze of highs and lows, all the while entwining themselves in an inextricable bind of friendship, love, and betrayal.

Despite being treated as a serious melodrama, Akhtar’s script plays more like a satirical parody of the Hindi Film Industry, courtesy Javed Akhtar’s suggestive dialogue. The film portrays most of the Industry as fake and dishonest. It seems to indicate that hypocrisy rules all in the business. One sequence even shows the writer (played by Anurag Kashyap ironically) copying scripts straight from a Hollywood DVD. It was also portrayed that in commercial cinema “cliché with conviction” was alright and that casting always dominates content. Statements like “We’re just good friends” always mean “We are more than friends.” Finally, it was mentioned that Supermodels, Miss Worlds, and Miss Universes, were the in-thing and nobody cared for true acting skills.

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Film Review of RAAZ – THE MYSTERY CONTINUES by Aakash Gandhi (6/10)

RAAZ – THE MYSTERY CONTINUES
Film Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  6/10

In the early 1960s, films like ‘Woh Kaun Thi’ and ‘Bees Saal Baad’ seemed to suggest at the time that Horror was a very promising genre for Indian Cinema. However, it was the ever-popular Escapist Romance category of storytelling that dominated the Industry for the next four decades.

Vikram Bhatt’s 2002 blockbuster, Raaz, reinvigorated the genre and paved the way for many other filmmakers to put their spin on the rediscovered art of scary storytelling, most notably Ram Gopal Varma. Nevertheless, seven years later, and the Bhatt camp finally releases the “sequel,” RAAZ – THE MYSTERY CONTINUES. Making a sequel is never easy from an expectations standpoint, as usually the predecessor was successful enough for it to warrant a follow-up.

Albeit boasting of the same name, this RAAZ showcases a brand new cast of Emraan Hashmi, Kangna Ranaut, and Adhyayan Suman, with director Mohit Suri at the helm this time around.

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CHANDNI CHOWK TO CHINA Film Review by Aakash Gandhi (5/10)

CHANDNI CHOWK TO CHINA (aka CC2C) is Nikhil Advani’s third directorial outing after the 2003 mega-blockbuster Kal Ho Naa Ho and 2007′s Salaam-E-Ishq. Starring Akshay Kumar and Deepika Padukone, CC2C has undergone one of the more intense publicity campaigns in recent times, spearheaded by Rohan Sippy and Warner Bros.

Unfortunately for Advani, who rocketed out of the gates with KHNH, has seen himself vanish into the vast oblivion of Bollywood with a rather disgraceful performance in CC2C, a film that is touted as “Bollywood’s first true Kung Fu flick.” It looks like the makers have broadened the meaning of “true Kung Fu flick” to include any chaotic group of hybrid Indian-Chinese characters aimlessly trying to force dry humor amidst a clutter of fight scenes littered throughout.

Undermined by a very stale script, CC2C has close to nothing to offer other than a few big names and some appeasing visuals of China’s rich landscape. The lackluster attempt pours through the film’s crew. Editing seems to be non-existent, as the two and a half hour running time only adds what seem to be eons to the painful experience. Fortunately, the action sequences have been directed well.

Not surprisingly, Advani hooks up with a number of talented composers to set up yet another enjoyable soundtrack. The songs serve as a fresh escape from the otherwise monotonously dull screenplay.

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Music Review of DELHI 6 By Aakash Gandhi (9.5/10)

Delhi 6
Music Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  9.5/10

It’s raining Rahman all over the world…and I absolutely love it! If you thought that 2008 was a groundbreaking year for the Madras Mozart (5 Hindi OSTs, 1 Tamil OST, 1 International OST), then you’ll be completely stupefied by how Rahman has lit the blaze of 2009. Last week, Rahman brought glory to the homeland by roping in Hollywood’s prestigious Golden Globe Award for Best Original Score for Slumdog Millionaire. Now, just half a month into the new year, and Rahman picks up right where he left off with another spectacular score in Rakeysh Omprakash Mehra’s much anticipated DELHI 6.

Many believe, myself included, that Rahman will undoubtedly raise the greatest trophy of them all – the Oscar – come February for his unprecedented mastery in Slumdog Millionaire. But even I was skeptical towards Rahman’s ability to continually work at such an incredibly high level. He’s quick to put any and all doubts to rest. DELHI 6 is just as rich, just as powerful, and just as awe-inspiring as his work in Slumdog Millionaire. As we take the timeless stroll down the streets of Delhi 6, let us rejoice in the phenomenon that is RAHMANIA.

Bhor Bhaye is classical bliss in the purest of forms. Rahman is in rare form, as he dazzles with his mastery over the mesmerizingly poetic textures of authentic Indian Classical music – a genre that once used to fuel his critics. The piece is poured through a classical lense, laced formidably by the tabla and harmonium. While Ustad Bade Ghulam Ali Khan provides tremendous support, it is Shreya Ghoshal who never fails to amaze. Her classical rendition is flawless in its control, range, and sweetness. Furthermore, her syrupy sweet texture serves as a wholesome foil to the other two more classically-rooted vocal tones. Verdict: The Rahman-Shreya collaboration attains musical nirvana yet again!

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Outrageous criticisms by AB and others of Slumdog Millionaire – My 2 cents

Link

This is an issue surrounding the film that irks me to a great degree.  Of course when you have a film that is running at such a rapid pace, you’re bound to have a few hurdles step in the way of its success.  The major criticism towards the film that I’ve been witnessing deals with the very questionable topic of India being portrayed negatively by the film.  Many nationalists/patriots, including Amitabh Bachchan (see link above), have accussed the makers of the film of simply exaggerating the “dirtyness” of India, constantly misrepresenting the country by shining light only on the murky underbellys, while failing to maintain an objective eye.

My comments below are in no offense to the critics – simply stating my own personal views:

These are utterly RIDICULOUS criticisms.  These individuals call themselves “Indians” yet are completely blind to what India is.  Why are you denying the reality of the matter?  What you see in Slumdog Millionaire is what India primarliy is – for better or for worse.  India is ruled by poverty and illilteracy.  Please tell me what it is that you are trying to hide?

The film is not TRYING to portray India in any one way.  It is merely capturiing the essence of how people live.  SM is not defiling our country in anyway.  Quite the contrary – It is glorifying our country through true realism.  It is a transparant window into her world.  Isn’t that what Cinema is?

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SLUMDOG MILLIONAIRE Sweeps The Golden Globe Awards!

SLUMDOG MILLIONAIRE Sweeps The Golden Globe Awards

Source:  PlanetBollywood.com
By Aakash Gandhi

Slumdog Millionaire is on a roller-coaster ride set to make India one very proud nation of over one billion people. The film, directed by Danny Boyle, has taken the honor of sweeping the Golden Globe Awards held on January 11, 2009 by winning all four categories it was nominated for, including Best Screenplay, Best Original Score, Best Director, and Best Film.

Clearly the crowd favorite, Slumdog Millionaire started its sweep by winning Best Screenplay – Simon Beaufoy. The screenplay is a brilliant adaptation of Vikas Swarup’s novel “Q&A”.

The second award is the one that will make India most proud, as their prized musical treasure, A.R. Rahman, walked away with the honor of Best Original Score. A.R. Rahman, who has been making music for over two decades, clearly reaches the heights of his success as he walks away with the prestigious honor.

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SLUMDOG MILLIONAIRE Music Review by Aakash Gandhi (9.5/10)

SLUMDOG MILLIONAIRE
Music Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  9.5/10

Mumbai, India 11/26/2008 – The bustling city of twenty million was brutally shattered by an unprecedented string of highly-sophisticated and coordinated attacks never witnessed before. The horror continues fifty-five hours later, as I painstakingly write these very words.

During these moments of such deep sorrow and tragedy, writing on a film may seem rather frivolous…even insensitive. However, God works in mysterious and miraculous ways my friends.

Rarely, if ever, does the Western world catch a glimpse into the beauty and majesty of such a dynamic city as Mumbai. Yet, today, her innocence has been ravaged and raped, left to bleed in front of the entire world. A hostage within her own land, her booming image will vanish within the minds of many internationals worldwide.

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A.R. RAHMAN – BEST ORIGINAL SCORE AT GOLDEN GLOBE AWARDS

A.R. Rahman has made all of India proud by winning the Golden Globe Awards – Best Original Score for Slumdog Millionaire!!  Although they butchered his name.

The genius continues yet again…

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Film Review of GHAJINI by Aakash Gandhi (8.5/10)

GHAJINI
Film Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  8.5/10
GHAJINI rekindles the brute force, raw ingenuity, and riveting exhilaration of a true cinematic thriller that has long faded in the memory of Indian cinema.GHAJINI has arguably been the most awaited film of the year (as most Aamir Khan starrers are). Creeping in on the final weekend of the year, the film has drawn quite a bit of speculative attention throughout 2008, with precious little being disclosed by the cast and crew. All we had to go by was its original 2005 Tamil counterpart of the same name. Nevertheless, the wait is finally over. GHAJINI hit worldwide screens on Christmas Eve ’08 and has opened to a stellar response.

A.R. Murugadoss, the father and creator of GHAJINI, sits in the director’s stool once again to recreate his stunning story on the much larger canvas of Hindi cinema. Of course, when you’re working with a perfectionist like Aamir, you might as well be directing an entirely new film. The other new face is the very talented Jiah Khan, who broke onto the scene with a sensational performance alongside Amitabh Bachchan in one of India’s boldest films in recent memory – Nishabd (2007). Rounding out the main cast is Asin and Pradeep Rawat, both of whom starred in the original.

GHAJINI tells the story of Sanjay Singhania (Aamir Khan), a short-term memory loss patient whose memory resets every fifteen minutes. Living life literally fifteen minutes at a time, Sanjay keeps his memory alive through writings and snapping photos with captions of those who are important. Prominent throughout his written memory is the name Mr. Ghajini and Revenge. What is the connection between Sanjay and Mr. Ghajini? Not even Sanjay knows. What follows is a sequence of flashbacks of Sanjay’s life prior to his memory-loss, all leading up to one fateful night that forever changed his life…

Bluntly speaking, Murugadoss succeeds immensely in translating his Tamil screenplay onto the wider Hindi screen, literally and figuratively speaking. Not only does he carefully harness the numerous strengths of the original, he is able to build on its foundations thanks in major part to Aamir’s portrayal of Sanjay.

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Film Review of RAB NE BANA DI JODI by Aakash Gandhi (7/10)

RAB NE BANA DI JODI
Film Review

Source:  avstv.com
By:  Aakash Gandhi
Reviewer’s Rating:  7/10

Heir to the majestic throne of Yash Raj Films, Aditya Chopra returns to the director’s chair after a lengthy absence of eight years. After bringing us one of Indian Cinema’s most treasured films of all-time, Dilwale Dulhania Le Jaayenge (1995), he returned with Shah Rukh Khan in another romantic epic, Mohabbatein (2000). He joins hands with SRK for a third time to write a relatively modest love story…the story of Mr. & Mrs. Surinder Sawhney.

Surinder Sawhney (Shah Rukh Khan) is a middle-aged, modest, and very introverted individual. Taking only that which is offered to him, Surinder weds Taani (Anushka Sharma) in accordance with her father’s dying wish. Virtual strangers, Taani soon after admits that although she’ll be a very devoted wife, she will never be able to love him. Unfortunately for Surinder, he was love-struck from the day he first laid eyes on the simple and innocent young lady. It is his quest to earn her love that gives birth to Surinder’s outgoing alter ego – Raj. This is the basic premise of Rab Ne Bana Di Jodi.

As the film opens to the bustling streets of Punjab, you can tell this film will be treated in a much more real manner than Chopra’s previous two works. Nevertheless, it is the trademark of YRF to find larger-than-life stories within mediocre ones. This is what Chopra achieves while analyzing the jodi of Surinder and Taani. Chopra’s screenplay is above-average at best. While creating Surinder’s alter ego, Chopra surreptitiously pens parallel stories – each of which serving as a sharp foil to the other. The couple of Story #1 is Surinder-Taani, whereas the couple of Story #2 is Raj-Taani.

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Music Review of CHANDNI CHOWK TO CHINA by Aakash Gandhi (7.5/10)

CHANDNI CHOWK TO CHINA
Music Review

Source:  avstv.com
Reviewer’s Rating:  7.5/10

With the pending release of Nikhil Advani’s next big film, CHANDNI CHOWK TO CHINA, 2009 is set to hit the floor running. Looking at the film’s OST, the first thing that pops out at you is that there are a total of four very diverse composers who create six original songs. The year has hit both the high and low notes. However, what we have rarely witnessed is the successful collaboration of multiple MDs to form a synergistic relationship and produce a quality album that will be remembered beyond the year’s end. To a certain extent, we have that with the music of CC2C.

The very off-beat trio of the Kailasa group are privileged to open the soundtrack on an extremely fresh, breezy, and musically soothing note with S.I.D.H.U. Very similar to an earlier track that was rendered by Kailash Kher, O Sikandar (Corporate), S.I.D.H.U. harnesses the upbeat Punjabi flavor while adding a bit more to it. Atop the harmoniums, acoustics, and dhols is a very lively and animate melody that does nothing but entice and engage – something we’ve come to expect and love from the group. Kailash Kher, Paresh Kamath, and Naresh Kamath have been having a breakout year with their foray into films (Pranali, Dasvidaniya). And although they haven’t quite matched the masterpiece of their debut album, the group proves to be one of the nation’s brightest and most unique musical sensations. Verdict: Get up and groove to the feel-good vibes of S.I.D.H.U.

Shankar-Ehsaan-Loy are up next with the title track, Chandni Chowk To China. Unfortunately, this song is by far the weakest link of the OST. Melodically, the song brings very little to the table. In fact, the monotonous riffs begin to irritate – a composer’s worst nightmare. Vocally, Neeraj Shridhar is completely out of his regular club element. His Chinese inflections appear as if he’s simply trying to hard to leave an impression. Anushka Manchanda’s support is more welcoming. In terms of musical arrangements, there is very little creativity utilized. SEL felt that they can make this track somewhat Chinese if they open with a short traditional intro and merely add minor vocal shrills beneath the composition. The rest of the song has heavy hip-hop traces and northern Indian influences; none of which have been used to their fullest potential. Verdict: It’s a very disappointing result after seeing SEL come off one of their strongest and most successful OSTs in Rock On!!

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Film Review of SORRY BHAI! by Aakash Gandhi (8.5/10)

SORRY BHAI!
Film Review

Source:  PlanetBollywood.com
Reviewer’s Rating:  8.5/10

So I finally had the opportunity to catch Onir’s latest film, Sorry Bhai! Although Bas Ek Pal (2006) was a disappointment after a masterpiece like My Brother…Nikhil (2005), my expectations were never lowered for Sorry Bhai! And rightfully so. The film is a touching tale with a refreshingly new angle on the usual triangular romance.

I’m not one to divulge much of a film’s plotline in my reviews. It’s suffice to know that Sorry Bhai! is about a younger brother who falls helplessly in love with his elder brother’s fiancé, and vice-versa.

Onir’s brilliant execution is poetically expressed in every breath-taking frame, courtesy Sachin Kumar’s sultry portraits of Mauritius. His job was made easy by way of Ashwini Malik’s gripping screenplay and dialogue. 99% of films throw out dialogue that are rudimentary filmy in nature. However, while listening to the characters speak, I truly felt as if I was watching a literal slice of life.

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SLUMDOG MILLIONAIRE Music Review by Aakash Gandhi (MUST READ)

SLUMDOG MILLIONAIRE
Music Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  9.5/10

Mumbai, India 11/26/2008 – The bustling city of twenty million was brutally shattered by an unprecedented string of highly-sophisticated and coordinated attacks never witnessed before. The horror continues fifty-five hours later, as I painstakingly write these very words.

During these moments of such deep sorrow and tragedy, writing on a film may seem rather frivolous…even insensitive. However, God works in mysterious and miraculous ways my friends.

Rarely, if ever, does the Western world catch a glimpse into the beauty and majesty of such a dynamic city as Mumbai. Yet, today, her innocence has been ravaged and raped, left to bleed in front of the entire world. A hostage within her own land, her booming image will vanish within the minds of many internationals worldwide.

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[Video] In Memory of the Mumbai Attacks – Vande Mataram Cover by Aakash Gandhi (News Edit)

[Video] In Memory of the Mumbai Attacks – Vande Mataram Cover by Aakash Gandhi (News Edit)

This video is a tribute to the legacy, the beauty, and the spirit of the most resilient city in the world – Mumbai, India. It is in memory of the tragic events that unfolded from 11/26/2008 – 11/29/2008. It is dedicated to all the heroic martyrs and victims whose lives will not go in vain.

Mumbai, India
- The City of Dreams -

Video Notes:
This video is a photo essay amidst my cover of the patriotic songs “Vande Mataram” and “Jana Gana Mana.” It also features some selected audio clips of live news converage. Please spend these 8 minutes to remember the terror that struck Mumbai for 60 consecutive hours, and pray for world peace.

VIDEO

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Sign PIL Petition against channels that showed the movements of our forces to the terrorists!

CALL OF CITIZEN ACTION!

Sign this Online PIL Petition against the TV Channels that broadcasted the movements of our forces to the terrorists.

BE THE CHANGE!!

www.smallchange.in

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Music Review of Ghajini by Aakash Gandhi

GHAJINI
Music Review

Source:  avstv.com
By Aakash Gandhi
Reviewer’s Rating:  7/10

The soundtrack of Aamir Khan’s forthcoming film, GHAJINI, marks the return of maestro A.R. Rahman for the fifth time in 2008. Needless to say, he’s had himself a very prolific year. What is even more astounding are the towering heights of musical superiority that he has showcased and maintained throughout the year. Mentioning that A.R. Rahman is a class apart would be an understatement.

In January we experienced the deliverance of one of Rahman’s most ethereal and epic soundtracks to date – Jodha-Akbar. Fast-forward to May, and we were caught off-guard by a diminutive project titled Ada…A Way of Life, which boasted of a playfully nostalgic Rahman. A couple days later, we were softly caressed by the youthfully poignant Jaane Tu…Ya Jaane Na. Continuing his remarkable trend of excellence, October witnessed the delectable sounds of Rahman smudged synergistically within today’s commercial genres. While each work distinctively showcased a wide-array of tones and styles, they all succeeded in preserving Rahman’s signature touch…”Vintage Rahman” as its come to be known.

However, the streak ends with Ghajini.

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