Thanks Ashish. It sounds better now.... Anyway, I would be seperately ripping that Villain Intro from a seperate scene in the movie.
On Wed, Jan 14, 2009 at 11:07 AM, ashish sharma <ashish_sharm...@yahoo.co.in > wrote: > Hey hi Vithur, > > I want to give u a special thanks for this....but i have done some changes > in ur file... changes has been done by me is attached....hope it will help > u.. > > Thank you so much.. > > Regards, > Ashish Sharma > > --- On *Wed, 14/1/09, Vithur <vith...@gmail.com>* wrote: > > From: Vithur <vith...@gmail.com> > Subject: Re: [arr] Re: Qalandar gives a very intelligent review of Ghajini > To: arrahmanfans@yahoogroups.com, "ashish_sharmago" < > ashish_sharm...@yahoo.co.in> > Date: Wednesday, 14 January, 2009, 9:58 AM > > The attached is a Police and Villain Intro.... > > On Wed, Jan 14, 2009 at 9:42 AM, ashish_sharmago <ashish_sharmago@ > yahoo.co. in <ashish_sharm...@yahoo.co.in>> wrote: > >> Can u plz send me an mp3 ringtone of Ghajini Dharmatma..When he is >> appears in the screen and his background music is like falling >> current Keeee....... kkeeeeeeeeeeeeek eeeeeekekekekeke eeeeeeeee. >> If u cant send it then plz send me suggestion to download this. >> >> Regards, >> Ashish Sharma >> >> --- In arrahmanfans@ yahoogroups. com <arrahmanfans%40yahoogroups.com>, >> "Chord" <purev...@...> wrote: >> > >> > http://qalandari. blogspot. com/2008/ 12/ghajini- hindi-2008. >> > html<http://qalandari.blogspot.com/2008/12/ghajini-hindi-2008.html> >> > >> > GHAJINI (Hindi; 2008) >> > If you don't know the story, you've been living under a rock: the >> > remake of a knock-off (Tamil cinema's 2005 superhit of the same >> name; >> > owing a liberal debt to the American Memento), Ghajini is Sanjay >> > Singhania's quest for vengeance: Singhania (Aamir Khan) suffers from >> > short-term memory loss, which in his case means that he forgets just >> > about everything every fifteen minutes -- including the identity of >> > the man who killed his fiancee Kalpana (Asin). If this perpetual >> > "rebooting" sounds a tad mechanistic, that's only fitting -- for >> > Singhania's vendetta has transformed his own body into mere >> > instrument, both to help him remember (Sanjay uses his body to >> scrawl >> > notes and instructions to himself; every incident of memory loss is >> > thus always followed by the shock of learning anew), and to help him >> > unleash carnage on his enemies (Sanjay's muscular body, first >> revealed >> > to us before his bathroom mirror in a disturbing representation of >> > tortured mind and contorted body, is nothing so much as a weapon). >> > That is to say, in the absence of love, Sanjay is no better than >> > machine -- one oriented toward tracking down Ghajini Dharmatma >> > (Pradeep Rawat), who murdered Kalpana before Sanjay's own eyes, and >> > killing him. Add in nosy medical student Sunita (Jiah Khan) who >> wants >> > to get to the bottom of things, and you have a recipe for one savory >> > khichdi. >> > >> > I needn't have fretted about the Hindi version's makers trying to >> > remake the Tamil masala film into something far more palatable to >> > contemporary multiplex audiences. To a far greater extent than I had >> > expected, the down-home ethos and vibe of the original has been >> > retained (if you want to know what I mean, think back to the >> childhood >> > flashback sequence in Tashan), a vibe more '90s B'wood than the >> > industry that gives us Life in a Metro or Taare Zameen Par (it must >> be >> > said that the Hindi version features more slick action than its >> Tamil >> > counterpart did). Indeed one cannot shake the feeling that the most >> > important thing Aamir Khan has forgotten with respect to Ghajini is >> > not the identity of his lover's killer, but the fact that the >> paradigm >> > this film represents has been killed. Or rather, more likely, the >> > opposite: the very fact that this film is an unabashed throwback >> > suggests that the filmmakers haven't forgotten at all. >> > >> > "Throwback" might conjure up memories of mindless beat 'em ups and >> > revenge sagas, and no-one can deny that there was much about the old >> > Bollywood that deserved to be laid to rest. But "throwback" can also >> > refer to Hindi cinema's traditional ability to harness the epic in >> the >> > service of the everyday; to tell a story with an emotional core, one >> > that could be re-visited, not simply consumed; where the characters >> > were more than mere toned and tanned mannequins, on the one hand, or >> > Hollywood-style "naturalistic" characters, on the other. And it is >> in >> > this sense that Ghajini is a throwback: in a word, what >> distinguishes >> > this film from its purportedly more sophisticated, more modern >> peers, >> > is the conviction that the trauma at the core of the film matters. >> And >> > matters enough to make psychotic rage seem like a plausible response >> > to irremediable loss. >> > >> > Ghajini would at first blush appear to be an odd choice to keep the >> > banner of old-school masala flying: its publicity campaign peddled >> > Aamir's multi-pack makeover, and the actor's shaven-haired look >> served >> > as Exhibit A to Bollywood's newfound professionalism, not averse to >> > getting in the skin of a character. And certainly Ghajini features >> > enough waxed chest to put Hrithik Roshan to shame, enough of a >> wannabe >> > vibe -- courtesy the video of the Behka song -- to make one cringe. >> > But what lingers is the emotional heft of the Sanjay-Kalpana love >> > story; and "lingers" is the word, given that director Murugadoss >> takes >> > a great deal of time to show the two talking, spending time >> together, >> > simply enjoying each other's company. In an era addicted to fast >> > forward, these two take their time getting to the point -- with the >> > result that one begins to care for the pair, even in the absence of >> > any great, passionate moment. The length of time the audience spends >> > "with" the lead pair is crucial (it is surely not coincidental that >> > the demise of an older cinematic paradigm has been accompanied by a >> > noticeable shortening of the films, to the point where the vast >> > majority are closer to two than three hours): absent such an >> > investment, it is unlikely Sanjay's loss could resonate to the >> extent >> > that it does. Equally important is Murugadoss' strategy of splicing >> > the flashback into three segments, and deferring the actual >> > representation of the trauma to the maximum extent feasible. >> Ghajini, >> > in short, doesn't just present us with a man whose fiancee has been >> > killed; it makes the audience feel that something truly meaningful >> has >> > been destroyed. For all the old-school clunkiness of Ghajini's >> > technique, that privileging of "showing" over "telling" announces >> the >> > film as more cinematic than many of its superficially hipper peers. >> > >> > Aamir Khan is the single biggest reason why Ghajini succeeds in this >> > "showing", in implicating its audience in Sanjay's trauma. For just >> > about every other aspect has been imported wholesale from the Tamil >> > version -- and yet the latter is somehow un-compelling, despite the >> > presence of a gifted star-actor at its core. The difference where >> the >> > Hindi version is concerned is Khan, who turns in not only an >> > authoritative performance -- one has come to expect these -- but >> (and >> > this is unusual for Khan) an uninhibited one, especially as the >> > psychotic post-trauma Sanjay. He rages, bellows, grunts, more feral >> > than human -- and makes it all seem plausible. His excess here is >> not >> > an excess of effort, but an excess of grief, of rage, of madness. >> > Despite the fact that I've seen the Tamil version more than once, >> > despite the fact that the Hindi version otherwise shares the Tamil >> > version's failings (not least of these is a script that where events >> > don't really move forward so much as just happen), from the moment >> > Aamir Khan makes his entry in a blaze of flying fists and broken >> > furniture, and even more so from the next scene, when Sanjay wakes >> up, >> > and the reality of his amnesia is revealed not by shots of his >> > apartment's walls covered by reminders, but by the fact that the >> > camera stays on his wide-open eyes, at once bewildered and >> vulnerable, >> > yet shaded with anger, I was completely spellbound by Aamir's >> > performance. Not since Mangal Pandey glowered outside his former >> > friend Gordon's house has Khan been so transporting. Certainly >> Pandey >> > is the better-written character, and hence the more complex role, >> but >> > the Aamir of three years later lets Sanjay go in a way he never did >> > with Mangal, even at his most furious. As in the under-appreciated >> > Mangal Pandey, however, Aamir Khan holds the film together; but the >> > achievement is all the greater in Ghajini, as, unlike in Mangal >> > Pandey, there wouldn't be much to salvage in the film absent Khan's >> > performance. >> > >> > Which isn't to say that the performance is perfect: Aamir is far >> less >> > impressive as the younger Sanjay, partly because he seems just too >> old >> > for the role at points (the only way to pull the Behka video off >> would >> > have been as spoof; sadly, Aamir and Murugadoss are deadly serious), >> > and partly because he doesn't appear to be doing much for long >> > stretches of the flashback except demonstrate to the audience that >> he >> > has the gesturality of this mode of popular cinema down pat (this is >> > made explicit in a clever bit of humor, when Sanjay instructs an >> actor >> > Kalpana wants to pose as Sanjay, on the importance of not overdoing >> > things. The fact that the actor in question has a theater background >> > might be a dig at Shah Rukh Khan, although the fact that he looks a >> > lot more like Aamir than Shah Rukh, combined with the evocation of >> > Aamir's own (in)famous inability to relax throughout the 1990s, >> makes >> > a self-deprecating reading the more plausible one). This isn't a >> fatal >> > problem -- more isn't required of Aamir -- but it is a letdown after >> > the intensity of the other Sanjay that the film began with. However, >> > the role of the younger Sanjay comes into its own as we move closer >> to >> > the tragedy, culminating in Kalpana's murder before the weeping, >> > helpless Sanjay -- one of the film's more memorable sequences. >> > [Another, more charming one is Sanjay taking Kalpana's "new" >> > Ambassador car for a spin, with Ramiaiya Vasta Vaiya playing in the >> > background.] >> > >> > Aamir Khan's is the dominant performance, but no discussion of >> Ghajini >> > could be complete without mention of Asin. As Kalpana, her task is >> to >> > get the audience to fall in love with her, while simultaneously >> > serving as a paragon of virtue, of the sort quite common in Tamil >> > cinema but almost extinct in Bollywood outside the world of >> Barjatya. >> > That she does so without boring the life out of moviegoers is no >> mean >> > feat -- and goes a long way toward this viewer forgiving her some >> > enthusiastic hamming (by way of an unmistakeable Sridevi-imitation) . >> > Kalpana is the film's "ground": she keeps high-flying CEO Sanjay >> > Singhania tethered (equally, her death means there is nothing to >> keep >> > Sanjay in check), but more evocatively she keeps the film tethered >> to >> > the lives of real people. It isn't every day that major Hindi films >> > today feature characters with money worries, or who are forced to >> > confront some of contemporary India's uglier realities (such as a >> > kidney-smuggling racket preying on village girls). CEO Singhania is >> > himself the kind of easily wealthy character common in contemporary >> > Hindi cinema, and his "education" in the ways of the ordinary Indian >> > by way of Kalpana is also, perhaps, the re-orientation of a Hindi >> film >> > audience that has come to associate cinematic heroism with outsized >> > wealth. >> > >> > The title role is as disappointing here as it was in the Tamil >> > version: in both films the culprit was Pradeep Rawat, in what must >> > surely rank as the most underwhelming outsized villain ever. Rawat >> > isn't bad in either version, but mere competence is not enough to >> bear >> > the weight of the significance the film invests Ghajini with: he is >> > the source of the "founding" trauma of this film's universe, the >> > demonic deity who must be slain if life is to continue. Such a >> schema >> > required the services of an Amrish Puri; in these times of >> diminished >> > cinematic villainy, sadly, it appears Rawat will have to do. [The >> > mystery deepens when one reflects upon him being the choice for the >> > Tamil version as well; the film would surely have been elevated had >> > the likes of Pasupathy or Bhartiraja, or even the (admittedly >> > overused) Prakashraj, been given an opportunity to strut their >> stuff.] >> > >> > It is clear Murugadoss had greater ambitions than the depiction of >> > just another baddie -- Ghajini's last name is, tellingly, >> "Dharmatma" >> > -- and indeed the film's schema (indebted, of course, to Memento) >> > turns Freud's world on its head. Whereas in psychoanalysis it is the >> > repression of trauma that makes memory possible, the forgetting that >> > must occur if one is to live; here the trauma is precisely that >> which >> > cannot be repressed -- and being irrepressible, makes memory >> > impossible. The subject who cannot repress the trauma is a subject >> > condemned to forget everything but the trauma. One might even read >> > this as a complement to Freudian psycho-analysis: a depiction of the >> > perils of not forgetting the primal father's appropriation of the >> > woman one loves, re-cast as popular mythology. Sanjay gets his >> chance >> > for redemption by film's end, when he is able to rescue Sunita from >> a >> > fate identical to Kalpana's. But like the best masala films of yore, >> > Ghajini knows that what is done is irreparable: no ghosts >> materialize >> > to heal wounds here; rather, the film's final shot is of Sanjay >> > contemplating Kalpana's last memento, even as she appears to sit >> > beside Sanjay, gazing wistfully at him. The Dharmatma has been slain >> > -- but all can never be right with the world he has sundered. >> > >> >> > > > -- > regards, > Vithur > > > > > ------------------------------ > Check out the all-new Messenger 9.0! Click > here.<http://in.rd.yahoo.com/tagline_messenger_7/*http://in.messenger.yahoo.com/> > > > -- regards, Vithur
