Just now finished watching Sri Rama Rajyam (telugu) in one of my friends home theatre (very late to watch this movie, but). What an experience! Bapu at his age of 80 has pulled a stunner which would appeal to every generation. Art direction and special effects deserves a special mention. Very rich and grand, except few scenes in the palace, and also in the forest, we can clearly it is not real, especially those deers and birds. Still a monumental effort. Following scenes I loved very much for art direction and special effects. Taking a story known to everyone and keeping the audience attentive for almost 3 hours is not an easy task. Bapu has done that beautifully. Excellent dialogues and acting was quite good too, especially Nayanthara.
The starting scene where Rama and Sita fly towards Ayodhya.
War scenes between Laskhmana and Lava-Kusa.
Palace set decorations.
Rama walking to Vaikundam and merging with Lord Vishnu.
Direction wise, two best scenes; first when she was left alone in the forest and second the whole scene when Sita's soul comes to visit Ayodhya till she realizes her mistake, peach of a direction there. Literally was in tears in both the scenes.
Coming to our Maestro, it is a cakewalk for him. He is one of the pillar of strength. Without him, the experience would have diminished to minimum. None other than Maestro could have pulled this one to such extreme heights. Maestro's biggest territory. Matchless! I could not express in words except I can only say it was an outstanding score! Which one to tell and which one to leave.Few scenes at the top of my head.
Whenever Sri Rama Lera bgm came, automatically invoked goose-bumps. Still Sri Rama Lera song was not in full which was a little disappointment, but the bgm compensated for it.
When Rama comes to know what people think of him and Sita.
The whole scene when Lakshmana leaves her in the forest, when they converse, bhooma devi coming to rescue, followed by Hanuman and Vaalmiki arriving there. Can't take my eyes and ears. What a treat that was!
The whole score when Sita's soul visits Ayodhya. Terrific!
War scenes, mirattal to the core.
Can't wait to rip the bgm from my DVD.
The way every song came live was amazing to watch. Luckily I could sing along every song and my friends were shocked to see that. Seetha seemandham was my pick in terms of visuals. The happy first charanam in palace and little sober second charanam in the ashram, wonderfully done.
Great experience, one should not miss! Will watch soon again! Thanks Plum and Sureshji, I made it at last!.
Thanks KV for listening and for your comments. I don't know how these small companies comes with such a quality which agi could not match. The sound quality of whole soundtrack (Ilaiyaraaja - Fire Star) is something I never had with IR even in his recent sountracks. Only thing I could guess is they could have taken the source from LP, still they have reduced the hiss noises and pumped up the sound quality, improved the bass lines and rhythms terrifically. Excellent job!
Every instrument has its own place in an orchestra arrangement, just as every vehicle has its place on the road. All is smooth and harmonious as long as each player in the scene knows and keeps his lane. Attempts to break the lane and elbow the other out can be disastrous — in a musical composition just as on the road.
That is how R. Purushothaman, renowned drummer who has played for the great composer Ilayaraja's recordings for over three decades, explained the role of accompanying instrumentalists in a musical piece.
He was speaking as the chief guest at the annual day celebrations of Babu School of Rhythms last weekend in Bangalore.
He said that there was always a “three lane system” in a recording with the song, lyrics and other instruments occupying the first two lanes. “The rhythm section is in the third lane. The challenge is to show your skill while not breaking into the other lanes and creating accidents!” said Mr. Purushothaman, who happens to be the son of yesteryear film composer R. Sudarsanam.
Mr. Purushothaman argued that he and two others who were on stage with him at the event in Gayan Samaj — guitarist S. Sadanandam and bass guitarist M. Saseetharan — were lucky because their “timing was right”. There may have been countless talented drummers and musicians, but those who played for Ilayaraja were “blessed” because he composed music that allowed them to showcase their talent. “That is sheer luck,” he said.
Well-known percussionist Bali analysed in detail how Mr. Purushothaman's drumming style, while being never intrusive, always had a distinct place in the musical arrangement. He urged the drummer to give more live performances rather than stay confined to studios.
Mr. Sadanandam and Mr. Saseetharan did not speak much about their association with Ilayaraja, but chose instead to go on stage and strum along as singers of Bangalore sang his famous “En iniya pon nilave” from the film Moodupani .
M.D. Pallavi, Mangala Ravi, Rajesh Krishnan, Narayan, Mohan Ankola and others sang the popular film songs composed by Ilayaraja, accompanied by Shabbir Ahmed, Caleb Alexander, Arun Kumar, Srinivas Achar and Bhutto, among others.
Anybody here who happened to attend this event? Any video links?
“the rhythm section is in the third lane. The challenge is to show your skill while not breaking into the other lanes and creating accidents!” said mr. Purushothaman, who happens to be the son of yesteryear film composer r. Sudarsanam.
நன்றி.. புரு இசை கோர்வையை பற்றி மிக அழகாக, எளிமையாக எடுத்து சொல்லி இருக்கிறார்.
ஹிந்து பத்திரிக்கையின் 'ஸ்பெசல் கரஸ்பாண்டன்ட்' ஆர்வ கோளாறால் ஏற்பட்ட பிழையில், தெரிந்தது போல் எழுதி விட்டார்.. மன்னித்து விடலாம் : R. புருஷோத்தமன்,பழம்பெரும் இசைஅமைப்பாளர் r.சுதர்சனத்தின் மகன் இல்லை.அவர் மகன் கிட்டாரிஸ்ட் s.சதானந்தம்.
Last edited by rajaramsgi; 29th May 2012 at 03:17 PM.
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