naani
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presenting to you' naani kannada movie trailer' from movie naani, starring manish chandra, priyanka rao, suhasini. album / movie: naani artist name: manish chandra, priyanka rao, suhasini music director: m. s. thyagaraj music label: lahari music enjoy & stay connected with us! ! subscribe to our youtube channel: urltoken like us on fb: http urltoken circle us on g +: urltoken follow us on twitter: urltoken
the upcoming tamil comedy drama pannaiyarum padminiyum, which features a premier padmini car in an important role, is likely to be remade in telugu. latest buzz says that telugu actor naani of nann ...
naani and sarnya mohan are playing the lead for bheemili kabaddi jattu presented by rb choudary and produced by nv prasad and paras jain under the banner of mega super god films pvt ltd. the film ...
naani movie is a all about an 8 - year - old kid nani (mahesh babu). he is fed up with the bad treatment meted to him by his mother. when he attempts ...
naani is one of indian' s most popular telugu poems. naani means an expression of one and all. it consists of 4 lines, the total lines consists of 20 to 25 syllables. the poem is not bounded to a particular subject. generally it depends upon human relations and current statements. this poetry was introduced by one of the renowned telugu poets dr. n. gopi, presently working as vice - chancellor to telugu university, andhra pradesh .
could you describe the songs you are singing? ghosh: yes. there is constant singing. my favourite song is set within a memory of the partition. as naani (grandmother), i re - live moments of this batwara when the love of my life was torn away from me for being a muslim boy. the song sets an example for the grandson as a way forward at a crucial juncture in his life where he must ensure love transcends boundaries of religion, something his naani’s love could not achieve. the song is testimony of naani’s liberated ideals ironically earned through loss of freedom and love. it is a new strand in the story as it did not feature in the film .
a couple moves into a palatial house. supernatural occurrences follow, which lead to the couple unearthing a story of the house' s previous inhabitants, which is a tale about a family comprising a little girl called naani, whose spirit guards the house .
some might argue that those were neither experimental nor comic, but others have seen those to know better. naani stands on the brink of becoming one of those, and what eventually keeps it on the brink is a vague craziness that oozes unflappably in here .
naani is an 8 year old boy who attempts suicide, but is rescued by a scientist who changes his life completely with his invention. the boy had no clue that this will transform his life and teach him how to be a good son, lover and father .
' de naani.' is an upgraded version of twenty - twelve default theme which is designed to work perfectly with' gmo show time' slider plugin and' gmo font agent' web font plugin. this theme also allow you to insert logo, and change site title / tagline positions .
naani is a thriller movie based on the incident of 1997 in nausari town in gujarat. it is the tragic tale of a test tube baby that lived up to 13 years and died of burns. the parents of this girl are living in the united kingdom today have given the nod for making this kannada film naani, which is based on this tragic tale. the 22 rooms palace cynosure in gujarat is pivotal for the films team. snakes and bats live in this locked palace and an attempt has been made to enter it. the belief that the girls athma lives here is also an element of this adventure films story .
in mira nair’s universally acclaimed monsoon wedding, an affluent delhi family prepares for the daughter’s nuptials. the 2001 hit has been turned into an english - language stage musical with the same title. the muisical featuring an ensemble cast, including namit das (as pk dubey) and palomi ghosh (as vijaya / naani). the production was premiered at the berkeley repertory theatre in california on may 19 .
what i learnt from her was how to be a genuine person, bereft of any pretence. i learnt that you could stand out in a crowd just by being true to yourself and doing what you believe in. rest in peace naani, you nurtured an entire generation who continue to live by your value systems. and above all, thank you for all your love, without which i would not be complete .
this is really a nonsense film. it is neither meant for children nor for biggies. such a third rate non sense movie. really, if any one can watch the movie it is great. naani is a small kid who gets raps on his head for every thing he does. he gets disgusted and runs away from home and meets a scientish (not scientist, a kids may be able to spell only in that way). he calls him as science. this guy turns him into a young 28 year old guy by putting some mantra or some sort of formula. cool isn' t it. also our naani has got a fine heroine whom he marries from he is big! (i. e. in the night time! !) i could no longer this crap any more. i would advise not to watch even on fourth of this non sense drama .
there was a deeply emotional side to her as well. with three daughters and three sons, she had about 20 grandchildren. she was interested in and updated with what was happening in the life of each of them. more than that, she was an affectionate naani or daadi to everyone. a lot of my fond childhood memories revolve around her. the only time i would see her crying was when we left to return to delhi post - summer vacations .
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story nani (mahesh babu) is an 8 - year - old kid. he is fed up with the bad treatment meted to him by his mother. when he attempts suicide, he is rescued by a weird scientist' science' (raghuvaran). nani tells him that he is fed up with everybody harassing him in his house. science offers him a service that would make 8 - year old nani into a 28 year old grown - up. nani accepts the proposal. nani becomes big and starts living outside. his mother lodges a complaint in police station that her son is missing .
nani grabs a job in a toy manufacturing company as a product manager. the nature of his job is to play with all the toys and suggest improvements. he earns quite a handsome amount. in the process, he interacts with priya (amisha patel), the daughter of toy company' s chief (nazar). priya is madly in love with nani. later on nani realizes that his mother loves him and she is missing him a lot. by looking at the sorry plight of his mother after he became big, nani asks science to revert him back as kid. when he makes nani back to 8 - year - old kid, there is a complication. nani is an 8 - year old kid in the day time and a 28 - year old grownup during the night time. the rest of the film is all about how nani manages it .
mahesh babu: there is an amazing tenderness in the looks of mahesh babu. that same quality shows up as an effective tool for the portrayal of nani character (8 going on 28). mahesh babu came up with an authentic performance. he looked stylish and charming in suits. his histrionics in pathos scenes are genuine .
amisha patel: amisha patel is great in the film. she exposed quite a bit of cleavage and has got tremendous footage in this film .
others: devyani is ok as mother of nani. however, the voice of savitha reddy is not apt for the role of mother. she also overdid (like in tamil movies) in few of the scenes. the kids (ashok galla) who played nani and his buddy did well. aiswarya is irritating as the cigarette - smoking buddy of heroine, who always speaks in raghuvaran' s accent. ali, brahmanandam and ravi babu did the roles of comedy villains. sanjay - husband of producer manjula - played the role of devyani' s husband in this film. sunil provided some unusual comedy with his farts in climax fight. nazar and raguvaran are adequate. kiran rathod, anjala zhaveri and mehak made guest appearances in the title song of the film. they look very insignificant in that song .
story: story of the film is inspired by tom hanks hollywood blockbuster' big'. quite a few scenes from that film are reused as per the convenience. however, story writer sj suryah failed in altering the story as per the nativity. if big film has 70% importance to mother - son bonding, nani film has 70% importance to romance between the lead pair .
music: the songs of the film fall short of what we expect from a music director of ar rehman caliber. ar rehman disappoints with his background score. it does not sound like ar rehman' s at all. among the songs, vasta nee venuka stands out followed by amma song. they have used filters for' chakkera ekkada nakkina' .
photography: photography by guhan is different. but what made the whole film looked unusual are the weird camera angles and contorted lens adjustments. these kind of photographic techniques are good if they were used for 5% of the scenes in the film. but it definitely irritates you if they were used for major part of the film. another artificial factor about the photography is the lighting scheme used. blue color dominates the film .
dialogues: dialogues by sobhan are ok. he made good use of words while writing dialogues that appear to have' double meaning' for the situations involving amisha patel and mahesh babu. the dialogue' eee lokamlo chedipoyina aadavallu vundochu kaani chedda amma vundadu' is heartening. he also used the code word of' gurram ekkadam' referring sexual intercourse .
other departments: art work is trendy. editing is ok. choreography for' vasta nee venuka' is enticing. other songs (except for amma song) have fast / rap steps. production values of the film are extravagant .
analysis: first half of the film is boring. second half is slightly better. the movie suffers from artificialness and bad script. nani stands as perfect example of how sound and camera is being misused (they used weird camera angles and stunts - related sounds even for the scenes involving son - mother). all the scenes and song (markandeya) involving ramya krishna were deleted. however, there are a couple of good scenes (pathos scene involving devyani and mahesh - comedy scene of first night for mahesh babu and amisha patel).' nani' is a bad film. mahesh should not have accepted this film. we have to wait and see if mahesh' s image comes to rescue of' nani' .
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his father' s superstar image has helped him but teen heartthrob mahesh babu still prefers doing things his own way .
ten films in five years and mahesh babu has already achieved the cult status accorded to top heroes. his debut film
not only set the box office on fire, it also made him the chocolate - faced lover - boy of an entire generation of swooning girls. since then he has done a spate of romantic films, blockbusters like
the lover boy image notwithstanding, mahesh has slowly and surely moved on to do many diverse roles and proved himself as one of the most versatile performers in telugu cinema .
when we ask the man in question how it feels to be an icon, mahesh flashes his ever - charming smile and says modestly ,
i have barely done a few films and even if some of them did not work, the majority of the audience always felt that i came up with good performances. also, i feel that all the hard work my dad put in and the indelible impression he created for himself in telugu cinema has spilled over to my career. i' m not sure if i would have had such a following on my own. by virtue of being his son, the legacy of the image was passed on to me .
mahesh says he would also credit the success of his childhood films to his current screen image .
i' m also lucky to have a lot of people who love me and are constantly behind me, giving solid support. all i need to do is work hard, give a good film and make them happy. the amazing thing with the fans in andhra pradesh is that once they become your fan, they always remain your fans .
as a person he is reticent and believes in living life on his own terms. as an actor there' s nothing artificial or contrived about him. he says ,
i am a very private person. i' m here to work in films. if my films are good, the audience will watch it. i don' t need to give interviews and attend talk shows to push my film. i am uncomfortable talking about myself. i love my fans. they have been there throughout. it is just that they expect too much. in a way, that' s good because i am working towards keeping to their standards, learning from my mistakes .
in a field where hype and hoopla reign supreme, mahesh is calm and confident .
it has been a learning experience. i never involve my dad in work and have always strived to make it on my own. i think i' m mature enough to select good stories but earlier, had i taken advice from my father, i am sure the outcome would have been better. but 10 or 15 years down the line, i would have to do everything on my own. so being independent was a conscious decision. i do one film at a time because that way, i can have better focus. i wanted to do different films simultaneously but that didn' t work .
was a dud in the state but did well in tamil .
here if you have a particular image, you' ve got to work accordingly. i' d better stop experimenting and stick to action roles .
mahesh adds that as an actor he doesn' t sink his teeth into a role believing that it is going to change his career graph. he listens to the narration and if he likes what he hears, he goes for it. he doesn' t think about critical acclaim at that point .
clearly facilitated the transformation of this action hero into a solid screen performer capable of delivering quality .
yes, it was one of my best performances to date and was very difficult as well. i did
around that time and immediately went to work on this particular role. the emotions i needed to portray were heavy and teja moulded me into the role .
mahesh' s working relationship with his directors has been very fruitful. he says all these men have different styles and it has been a tremendous experience learning the nuances of the trade. but has he ever been dogged by insecurity ?
to be honest, in the initial stages, yes. i was apprehensive about living up to people' s expectations plus there was no way i wanted my dad' s reputation to be tarnished even with a single bad performance. but
wiped away all my doubts and insecurities. success can be a heady feeling and can throw you off balance so one needs to concentrate and be braced for any eventuality. unfortunately the slots we are in, the budgets that revolve around us, it is imperative the film be a super hit. so it' s not that easy handling all this .
as his all - time favourites .
one reason i loved working in these films is that the whole atmosphere was peaceful. my directors took charge of just about everything including my costumes. all i had to do was just go to the sets and give them what they asked for .
was a cost failure but it' s close to my heart because of the standards it set. mani sharma had given a fantastic background score for almost all my films and he remains my favourite. and
was an elevating experience. my dad watched the film and never said a word. but i could see his eyes turn moist, he just choked. those reactions keep me going .
and it looks like this hero will keep going a long, long way. as they say, like father like son .
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a dialogue when lengthens remain questions without answer as criticism. copyright © 2001 bollimuntha venkata ramana rao
a dream as a particle in eyes remains as tear wounded desire. copyright © 2001 bollimuntha venkata ramana rao
obstinacy of words with grip essence of expression looses its density. copyright © 2001 bollimuntha venkata ramana rao
with a smile throws commendation to an envy a beautiful praise. copyright © 2001 bollimuntha venkata ramana rao
black clouds in her eyelids it' s time certainly to drizzle. copyright © 2001 bollimuntha venkata ramana rao
nectation of pen on the white paper lattice a poem. copyright © 2001 bollimuntha venkata ramana rao
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apart from the fact that she resembled madhuri dixit (this is from our sneak peek into her only black and white picture available), she was a remarkable woman with a blend of qualities that are hard to find in any one individual. she was affectionate and indulgent with her grandchildren, yet she had the ability to discipline them if they crossed the line. often people are described as ‘hard outside, soft inside’, but she was ‘soft outside, hard inside’ .
born in a family of zamindars, my maternal grandmother was accustomed to doing laborious work. she could wash kilos and kilos of wheat, spread it out on the terrace to dry and then scoop it up to be stored after drying. as a child, i have really admired her when she would clean up those huge heaps of the tiniest fish imaginable and cook them to perfection. the task required patience and deftness .
i often saw her using the mathani — an earthen pot with a lid and a handle inserted in it which had to be rotated repeatedly with hands to churn curd. this device alone can give any modern - day gym a run for its money. it was no wonder that she remained really slim all her life. after the butter was extracted from curd, there was a byproduct, which was distributed to the poor in the village who perhaps could not even afford to buy dal or lentils. they would line up their vessels to collect this and she distributed it equitably. although she belonged to an upper middle class rural household, she was not oblivious to the poverty around her. it was far easier to dispose of this byproduct than to summon the needy and then distribute it to them. she was also generous with other people around her, such as domestic helpers or relatives who were in need. to me, she was the lady with the golden heart .
i saw her supervising work tirelessly and she was a taskmaster. the only time she relaxed was during her customary afternoon nap. the lady was a compulsive speaker too — i mean, i could hear her muttering to herself all day long. most of the time she was upset at someone for their tardiness or for not doing their work to the highest degree of perfection. if not, she would curse the flies for buzzing all day. the woman was a perfectionist. in the corporate world, she would have been equivalent of the boss who would ask for powerpoint version 20, till it was perfect to the last full stop .
she was a domestic goddess, running the household efficiently. my mother told me she raised her children with simple, good values. living in a joint family, she constantly shielded them from polarising and negative influences. there were strict instructions to not indulge in useless gossip and focus on day - to - day work. i often saw her handle huge amounts of money for my grandfather. i can' t say for sure, but i guess she did manage his finances too. in a social system where women’s opinions were not really considered, i often saw her giving advice on different matters .
she was one of the most assertive and decisive persons i have known. she was quite direct and spoke her mind, to both men and women. i think it was this quality that made me differentiate her from other women and she has certainly inspired me in being an assertive person. she evoked love, respect and also some amount of fear in people. she was fair to everyone, whether it was in delegating responsibilities or distributing goodies .
there was also a fun side to her. now, i found this angle of her personality to be the most refreshing. this was not ‘usually expected behaviour’ from an ‘old person’. she was a lady with spunk and wit. she had the most innovative responses ready for anyone who dared to mess with her. she was an expert dholak player and singer. her repertoire of wedding songs ranged from the demure to the ‘not - so - demure’ numbers. when the latter category was sung, the children were usually asked to retire to bed. of course, we used to hang around somewhere, catching snippets of these forbidden songs! her ‘gang of girls’ would continue to sing till the wee hours of the morning. these women sure knew how to party !
often, when she was in a good mood, we would ask her about her life as a young girl before marriage, how was her life after marriage and so on. she would indulge us with some wonderful anecdotes of her life. these discussions always ended with her asking me when i would get my nose pierced. this was a big deal for her somehow. i always told her i would never get my nose pierced for the sake of wearing an ornament on my wedding day. and she would be really alarmed, and say, ‘how would you look as a bride? ’. true to my word, i never pierced my nose and still managed to wear the ‘nose ring’. i am glad she was around to see me as a bride and her worst fears did not come true !
as a devout muslim, she never missed her prayers or fasts. even in her last days, when even religion gave her the choice of not fasting due to old age, she continued to do so. she loved eating spicy food and rarely paid heed to doctors who asked her to reduce her salt and spice intake. she lived a fulfilling life, well into her eighties, and was blessed with a dignified death, surrounded by her loved ones. there was a huge crowd at her funeral with people from far and near villages coming to pay respect .
s 2 / 1, dlf phase 3 (7, 728. 92 mi) gurgaon, haryana 122002
ely i bought a small box not knowing that it would get over in a day. my family did not leave even a morsel for me. absolutely
love the name too! very well done, and thank you... the mathis and gud paras were loved by all... and thanks for making the effort
of packing rakhi and roli along. god bless and looking forward to tasting all your products soon... good luck !
amazingly fresh out of the kitchen snacks! ! just like how my nani would have made them ...
images from the places i love. thank you peter don, ryan bonneau and erik anderson for taking beautiful photographs and not thinking yoga is totally lame .
re: treat founder, babsi and i taking a moment in lotus. it' s what we do .
learning to balance and stay strong through the shoulders has been a long work in progress for me .
once elusive, with patience and practice and a good sense of humor i got there .
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a couple moves into a palatial house. supernatural occurrences follow, which lead to the couple unearthing a story of the house' s previous inhabitants, which is a tale about a family... see full summary »
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
a couple moves into a palatial house. supernatural occurrences follow, which lead to the couple unearthing a story of the house' s previous inhabitants, which is a tale about a family... see more »
raghavendra k. gollahalli, raghavendra k. gollahalli, b. a. madhu
i was inspired by this book to write a short paragraph on my grandmother. i won the prize and got an author signed copy of against all odds. this book is a good book. the events move very fast. it tells us about the way differently abled people are underestimated by society but can be unexpected champions. we are all prejudiced about small towns but the book teaches us to be open minded. it also encourages girls to dance modern dance and not restrict to classical forms .
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at one level, the much - hyped nani is all about the childhood fantasy of growing up fast into the adult world. such a theme is fraught with risk as the director and the screenplay writer has to walk the tightrope of parading kids stuff palatable to adults and vice - versa .
a palpable lift - off from the tom hanks hit big, nani fails to manage this deft act as it falls in the category of neither here nor there .
in the process, the director s j suryah (of kushi and vaali fame) has also gone overboard with double - entendre dialogues (the censors, we are told, had to wield the scissors at many places and the scene involving ramya krishnan had to deleted as they were found to be unseemly and tasteless) .
nani (mahesh babu), at core is the story of an 8 - year - old boy, who attempts suicide as he feels that his mother (devayani) does not like him. as it happens, a scientist (raghuvaran in a weirdo look) helps him and makes nani become a 28 - year - old instantly. hereafter, the plot is predictable and tiresome .
the 8 - year - old in a 28 - year - old man' s body lands himself a job in a toy factory (his essential boyish instincts wins him the job) and not surprisingly the toy factory' s owner' s daughter priya (amisha patel) is head over heels in love with him .
just as he is having a ball in the toy factory, nani comes to know that his mother actually dotes on him and is distraught ever since he went missing. overcome with remorse, nani runs to the scientist to get him back to shape. the scientist does that, but there is one hitch - - - nani is an 8 - year - old only in the mornings; in the nights he is a 28 - year - old. you think it is funny? but in this film, it is actually irritating .
beyond point, the humour of the situation looks forced and the double entendres get on to your nerves. in big the director had managed to keep the innocence intact and let the film remain one for kids. in nani, the director' s folly is that he has made it for the adults. and despite the technical gloss and high production values, the film fails to rise to any great heights .
mahesh babu, in the eponymous role, certainly proves to be hard working. but he has failed to bring to fore the essential nuance of the character and the mental complexities of a split personality. he romps through in romantic scenes. amisha patel' s role is well etched, but she also seems to have let slip the opportunity. she looks fetching in ravishing outfits. but that is all to her role .
devayani as nani' s mother is more than passable. she hams a bit in certain situations, but overall she comes through the complex role. aiswarya (with a disconcerting cigarette - smoking habit) just adds up to the number .
raghuvaran and nazar (toy factory owner) just go through their motions, as their roles are insignificant. the kids who play nani' s friend are actually good and as they have done their roles with flair and understanding. brahmanandam, ali and ravi babu' s comedy is no great shakes as it is predictable. then there is sunil, well forget it, his antics are laboursome .
the title song featuring, kiran rathod, anjala zhaveri and mehak, provides plenty of oomph and glamour .
the music, by a r rehman, is a bit of a let down in the film. said to have been recorded in london, the background score is too loud and rhythm - infested in most places. the songs, in most times indecipherable, are also not easy on the ears. somehow, the music doesn' t fit the mood of the film. vasta nee venuka and amma songs pass muster among the lot .
the photography of guhan is stylized for most part. though good, it sometimes becomes a strain on the yes (especially the novel camera angles and the choice of lens) .
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with the possible exception of intros to urltoken movie reviews, there aren' t many things more boring than an experimental comedy made on mahesh babu. look at nijam and bobby for instance .
this craziness starts at the very beginning. they show a dazed raghuvaran introducing us to his invention - a two - tailed robotic do... .
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in a bid to cash in on the tradition that all the films that came in telugu with sports backdrop were big hits. even, mega super good movies have made an attempt to remake a successful tamil film ...
presented by rb choudary and produced by nv prasad and paras jain on the banner of mega super good films, bheemili kabaddi jattu is in the final stages of post - production. final touches are being ...
the long wait of the fans of mahesh babu is now over as the actor is back to the big screen with his new film likely to be titled power. the actor has not been seen in any new movies since athidhi, ...
shooting of bheemili kabaddi jattu produced under the banner of mega super good films introduces tatineni satya as director. the shooting for the film was completed recently and post - production is ...
the second schedule of bheemili kabaddi jattu directed by tatineni satya, presented by rb choudary and produced by nv prasad and paras jain under the banner of mega super good films with nani, ...
shooting of bhimili kabaddi jattu presented by rb choudary and produced by nv prasad and paras jain under the banner of mega super good films with nani as hero was launched at ramanaidu studios in ...
nani and madhavi lata are playing the lead for snehituda presented by gemini film circuits and produced under the banner of satya entertainments, under the direction of satyam bellamkonda. the film ...
taarak mehta ka ooltah chashmah dr. hathi: bhide master, mandar gets tearyeyed on the news filmibeat
how did you land a role in the ‘monsoon wedding’ musical? ghosh: i was at the new york indian film festival in 2016 where nachom - ia kumpasar was the opening film. mira happened to watch the film and loved it. at the post - film q & a, i was ecstatic when she asked festival organiser aseem chhabra to invite me on stage as she cheered on from the audience .
later that night at the opening gala dinner, i was asked if i would sing a song from nachom - ia kumpasar along with the jazz band playing that evening. i readily agreed, of course. i think she liked the song since i saw her moving to it as she recorded it. when we finally spoke at length, mira was so full of affection and very kind with her appreciation. she mentioned monsoon wedding the musical and i told her i had recently tested for it in india with casting director nandini shrikent. she asked me to meet her and our producer margo lion the next day. that is how it began. it was unexpected and absolutely surreal .
das: some five years ago, a friend and me were casually discussing how monsoon wedding, the film, was soon going to turned into a musical. my friend said that i would be great for the role of dubeyji [ played by vijay raaz in the film ]. in 2016, i got a call from nandini shrikent asking if i could audition for the part. i did and mira nair liked it. it felt like the universe was telling me something .
what is your role in the musical? ghosh: the entire cast slides in and out of multiple roles, including myself. it is exciting to switch between some of these characters that are decades apart in age. for instance, one of the roles i play is of an 86 - year - old granny with a wacky yet wise view of the world through her “soda - bottle” glasses. she is all about revelations of love and the stock market .
how is the play different from the movie? ghosh: its basic premise is the same. yet it is different. songs in the film were part of the story, while songs in the play are the story. a shift in medium changes a lot both in terms of new possibilities and constraints .
the biggest difference to me is of the process itself. a stage musical must tightly knit all its layers together simultaneously. there are no re - arrangements on the edit table. this means constant flux and a readiness to adapt to change for actors, creative and technical teams alike. which is awe - inspiring at the same time. its stage craft is like nothing one has experienced before. music, choreography, and blocking are constantly finessed to hit the sweet spot that we hope leaves audiences happy .
das: it is very different. it’s in the english language. musicals are a three - way attack, you have to be a dancer, a singer, and an actor. the process becomes very different and in the workshop mira had an amazing process of finding the character through me once again. she had a version, and through my entry, we formed the character through an improvised style .
has vishal bhardwaj replaced all the songs from the film? ghosh: the play retains key musical themes from the film. however, since the story is told through music, there are mesmerising new songs that are the soul of the musical. for those like me who fall in the percentage of population that experiences musical chills, there are some hair raising - moments within these songs by vishal bhardwaj. he is a magician. it is thrilling to be singing his compositions live. he teams up with susan birkenhead, who could easily be mistaken as being indian for how the ethos of a great punjabi wedding shines through in her lyrics. and lorin latarro’s choreography gives the songs such life, it feels delightful to be performing them .
das: there is one song composed in the raag bhopali called neither here nor there, a beautiful composition that i found tough and challenging to sing as the rhythm was quite tricky. i have a lot of duets with my co - actors, all of which are very competent. i had to go through a lot of workshops for singing. i have a background in indian classical music but it is not what they look for in western music. indian classical form allows a lot of improvisations but here the accent is more on accuracy. you cannot go off the music bars and notations, musicians will not save you, there is an orchestra playing, your cues are sharper and you have to keep looking at the music conductor and follow the rhythm.
naani is a telugu film released in 2004 . it was directed by s. j. suryaah and stars mahesh babu , amisha patel . the film was a bilingual , simultaneously shot with the tamil version new and featured music composed by a. r. rahman . 
naani is a telugu film released in 2004. it was directed by s. j. suryaah and stars mahesh babu, amisha patel. the film was a bilingual, simultaneously shot with the tamil version new and featured music composed by a. r. rahman.
naani is a telugu film released in 2004. it was directed by s. j. suryaah and stars mahesh babu, amisha patel. the film was a bilingual, simultaneously shot with the tamil version new and featured music composed by a. r. rahman.