Ever since the title and first look poster were unveiled a few days back, Vedalam (Vedhalam) has been the talk of the town. Earlier referred as Thala 56, this film is in its final leg, and recently a solo song with Thala Ajith was shot in a studio in Chennai and Kalyan choreographed the same.
This is what Kalyan tweeted,
"After a long time a fantabulous song with Ajit Kumar.. #Thala #Vedhalam #Feeling awesome #Rocking"
The Siva directed Vedalam is set for a Diwali release, and the music by Anirudh can be expected on October 16, which happens to be the composer's birthday.
Mani Prabhu (Iflickz blogger) traces the incredible journey of two young musicians, who have dared to break the mould…
16th September 2015. One eventful day when wishful reveries came true. The kind of magic that evoked déjà-vu memories of the 80s. The sort of high that made fans and cineastes go totally berserk. Well, how often you get to see a smashing trailer and a ruthless first look, one from each of the two industry stalwarts back to back on the same day! Superstar Rajinikanth in an avatar that seems like the answer to every cinema’s lover’s dream, and Kamal Haasan in a trailer that screams of the actor’s uncanny ability to effectively blend art, technology and commerce! Just, wow. The obvious frenzy over the magical first glimpses of the actors aside, the striking common element between Kabali and Thoongavanam cannot be missed. Both these films, in addition to having young promising directors at the helm of affairs, have their music composed by two new-generation musicians, who have started redefining Tamil cinema soundtracks.
Well, if you are someone who had been religiously following Tamil cinema since the Rahman storm set in, you couldn’t have missed the distinctive musical breeze that started whipping through the industry from the start of the new decade. By the end of 2010, AR. Rahman, the pioneer of new-age Indian music, had again created magic and reclaimed his indisputable position with the VTV album. But he was straddling several industries and working only with select filmmakers, meaning a significant slowing down of the juggernaut. The talented Yuvan and Harris Jayaraj, who shot to prominence in the early 2000s, were going through an inconsistent and generic phase, showing only occasional sparks of brilliance. GV. Prakash displayed initial promise, but was getting bogged down, thanks to the unrelenting demands of the industry. The circumstances screamed for a change. Also, mainstream cinematic content was about to undergo another major shift, with new breed of filmmakers with a discerning eye for experimentation queuing up to make a difference. A refreshing musical makeover was the need of the hour. The call was answered resoundingly, as the new decade dawned. The men of the moment, Santhosh Narayanan and Mohamaad Ghibran, happened to Tamil cinema.
A parallel journey of ground-breaking compositionsExactly four years back, Mohammed Ghibran’s debut soundtrack Vaagai Sooda Vaa came as a breath of fresh air at a time, when musical refinement and layering were going for a toss in the industry. With a unique blend of rural folk and western orchestration, tracks like the crafty ‘Sara Sara Saara Kaathu’, the striking ‘Poraaney Poraaney’ and the spectacular symphony ‘Aana Aavanna’ spoke directly to the listener’s soul than the brain. Here was a musical composer whose arrangements seemed to break a lot of templates. The first seed of innovation was apparently sown. A twenty nine year youngster debuted the very next year with a delightfully quirky album Attakathi, which had everything from whacky ‘gaanas’ to earthy melodies but with an inexplicable twist. The name was Santhosh Narayanan. He followed it up the same year with a uber-hip background score in Pizza, which incidentally had some of the best pop beats ever used in Tamil cinema. But it wasn’t just that. Who would have thought of Gaana Bala singing jazz and blues! Yes, it happened; the delectable combination resulted in the ‘Ninaukkuthey’ track that had a brilliance and madness written over it. The second seed had taken root.
Ghibran went on to work in films like Vatthikuchi, Kuttipuli and Naiyaandi in 2013. WhileVatthikuchi’s soundtrack made quite an impression with catchy melodies like ‘Kuru Kuru’ and‘Kanna Kanna’, the other two lost their way in the films’ critical bashing. But the man’s eye for a distinct technique came across loud and clear. Santhosh, on the other hand, was on song, giving an eccentric post-rock ambience to our Indian rhythms in Soodhu Kavvum and Villa. Soodhu Kavvum in particular, with the likes of the rip-roaring ‘Sudden Delight’ theme and three genre blending beauties (‘Mama Drouser’, ‘Come na come’ and ‘Kaasu Panam’) established Santhosh as someone who could make two polar musical worlds coexist.
Both composers came out all guns blazing in 2014, which proved to be a true aural treat. With an assortment of sufi melodies (Chillendra chillendra), carnatic brilliance (Kannukul Pothiveipen) and western orchestrations (Enthaara), Ghibran truly proved his passion for experimentation and versatility in Thirumanam Ennum Nikkah. Next from his stable, came the soul-stirringAmara Kaaviyam album that had some haunting melodies (‘Edhedho Ennamvandhu’, ‘Dheva Dhevadhai’). The crazily talented Ghibran was on roll.
Santhosh Narayan, simultaneously was creating magic with his signature crossover style. In the poignant Cuckoo, he paid perfect tribute to Raja with tracks like ‘Manasula Soorakaathe’, ‘Agaasatha’ and ‘Kodaiyila’, featuring some enthralling orchestration and a delightful interplay of violins and flute. But the show had just begun. Just when we were reeling from Cuckoo’s impact, Jigarthanda happened. And what a musical experience, it turned out to be. In probably the most audaciously irreverent and eclectic soundtrack in quite some years, Santhosh rewrote all grammar rules of Tamil cinema music, unleashing all genres possible on the unsuspecting audience. Name it and its there; Gangster rap (Ding Dong), Country folk (Paandi Naatu), Ambient melody (Dhesayum Ezhandheney), Synth-pop (Kannamma), Folk-blues fusion (Baby), Gibberish blues (Jigar), Reggae (Thanda), Jazz (Ottam), Western spaghetti (Hoo Haa). The background score was a class of its own, dripping of Tarantino-esque cockiness. With melodies like ‘Aagayam Theepidicha’ and ‘Naan Nee’ and loads of North Madras swagger (Kakidha Kappal), Madras was another feather in the musician’s cap. Santhosh wrapped up 2014 with the funky Enakkul Oruvan. The man had pushed the envelope to crazy limits, exploring new sounds with a blatant disregard for norms.
It was now Ghibran’s turn. He shot back with the daring and ambitious Uttama Villain, delivering an album which took Tamil cinema music to heights, hitherto unheard of. Featuring native narrations blending Villupaatu and western orchestrations (Uthaman kadhai, Mutharasan Kadhai), haunting period melodies using traditional instrumentations like tabla, ghatam and dholak (Saagaavaram, Kadhalam kadavul mun), imposing vocals in a koothu base with a dash of atonality (Iraniyan Naadagam) and stunning instrumentals (Father and son, Father and daughter, Letter from and to Yamini), the Uttama Villain soundtrack was truly one of a kind. Ghibran had made a statement, a powerful one at that. He went on to own 2015 with the chartbuster ‘Yeya En Kottikkaara’ in Paapanasam, yet another proof of his talent to embellish his tracks with stunning intricacies. Santhosh Narayanan, meanwhile, impressed with the soaring ‘Pogiren’ and the delectably rustic folk number ‘Raasathi’ in his only release for the year 36 Vayadhinile.
In addition to Kabali, Santhosh has interesting projects lined up like Irudhi Sutru, Iraivi, The Nalan Kumarasamy project, Kashmora and Vada Chennai. The opportunities for more radical soundtracks are infinite. Ghibran seems to have a bagged a Vikram film after Thoongavanam, while the second part of Vishwaroopam promises to be a real game-changer for him. With both these young talents in such fine form and growing in leaps and bounds, it’s surely exciting times ahead for Tamil cinema.
Watching the promos of Puli, with the ensemble cast clad in elaborate costumes, evokes the feel of a period film. However, Chaitanya Rao, who worked on Shruti Haasan’s principal costumes in the films, tells us with a hint of mystery, “The costumes represent the past, present and future.” The Chennai-based designer tell us how he transformed the sketches from his lookbook to period costumes.
Directed by Chimbu Deven of Imsai Arasan 23m Pulikesi and Arai En 305-il Kadavul fame, Rao describes his first collaboration with the director as “brilliant”. After meeting Deven and the art director T Muthuraj, who had completed the ground work and envisioned all the costumes for the film, Rao’s job was to make Shruti Haasan’s attire modest and at the same time, stunning. “Shruti Haasan also had her say in the preparations, because she had spent a lot of time toning her body, and wanted to look sensuous. She was keen that the clothes had to accentuate her body,” Rao informs.
Although Deven and Muthuraj had already researched thoroughly on the costumes, Rao, who has worked extensively with modern and contemporary ensembles in his own fashion shows and Tamil movies, admits that the process of transforming the sketches to costumes was challenging. “Deven had certain ideas about the costumes which turned out to be quite expensive, and we had to work under pressure. What was drawn in the lookbook turned out to be quite different in the final product.”
Rao describes the costume-making process, “Since Deven did not want any brocade materials, I looked at several fabrics such as Georgette and silk as getting the correct fabric was very tricky. I had to dye fabrics to get certain colours as Deven wanted solid, pastel colours only.” We hear that the costumes in the film represent the past, present and future. Haasan plays a village belle and Rao’s task was to convey the story through her costume – “innocent, conventional and sensuous”. The footwear was designed by Rao’s in-house production team. We suggest you check out Haasan’s dress with the lavender and dull rose combination.
We quiz him about his favourite dress in the movie but Rao is tight-lipped, revealing that the rust and beige-coloured costume appears in the final scene, when, intriguingly enough, Haasan gets kidnapped. We can’t wait to watch the movie!
Kirumi, written by Manikandan who made Kaaka Muttai and directed by debutant Anucharan, would be the first Tamil film to have an international premiere at the Toronto Reel Asian Film Festival in Canada. The 18th edition of prestigious festival is scheduled to happen fromNovember 5 to November 15 2015. The annual ten day event is aimed at showcasing contemporary Asian cinema across the world.
A dramatic thriller with psychological undertones, Kirumi narrates the story of a lower middle class youngster who finds himself in bad company. The film, featuring many promising debutants.
Not many here can forget the small budget ‘Darling’ that became a major hit last year. K E Gnanavel Raja who scripted the success story is all set to recreate the magic through Studio green again, the project has been named Darling 2, which was earlier titled as ‘Jinn’.
Darling 2 directed by Debutante Sathish Chandrasekaran revolve around five friends who go for an outstation trip with a haunted friend. Laced with humour, the horror flick will see many talented artists like Kalai of Madras, Kali Venkat, Arjun , Muneesh kanth,’Madras’ Jhonny with the lead pair Rameez Raja and Maya. “The title change was discussed and with out any hesitation, it was accepted. I am sure this film also will be a ‘Darling 2’ for the masses. We are planning to release the film on October 21st, ” reveals Gnanavel Raja.
We have some awesome news for fans of Anushka Shetty. Her ambitious period flickRudhramadevi, in which she plays the titular character of a queen from the Kakatiya dynasty, is likely to be released as scheduled on October 9th, after getting delayed a couple of times for pending VFX and 3D works.
Also, her other bilingual romantic drama Size zero/Inji Iduppazhaghi, might make it to the theatres on the same day. The film, in which she co-stars with Arya, would see her as an obese young girl caught in a romantic relationship. An official confirmation on this regard by PVP cinemas, the makers of both the films, is expected soon.
Ojas Rajani, who played the controversial role of a stylist trying to lure Vikram with lewd remarks and gestures in I, has appealed to the members of the transgender community to drop all protests against director Shankar and Vikram.
In a press release, Ojas has stated “Shankar didn’t try to demean my character as a transgender. In fact, he shot it so aesthetically that it doesn’t offend anybody, including the transgender community. It’s just part of a story of the film and I request everybody to not get offended.”
SJ Suryah’s Isai, which was earlier planned to release for Christmas 2014, will finally see the light of the day very soon. Yes we have some happy news for all the SJ Suryah fans. Isai directed and acted by SJ Suryah is all set to release on the 30thof this month, January,2015.
When Behindwoods spoke to SJ Suryah, he replied, brimming with confidence “Isai will hit the screens next Friday, the 30th of January, and since it is going to be a solo release, we will be releasing the movie in more than 300 plus screens all over Tamil Nadu.”
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