- Release date: 7 October 2011 (India)
- Director: Neerav Ghosh
- Music director: MIDIval Punditz, Karsh Kale
- Screenplay: Neerav Ghosh, Rajiv Krishna, Chintan Gandhi, Aarthi Rayapura
Story
Hear this. DJ Raunak loses his hearing capacity and finds a good pace voice of his inner voice. Incredible reason for an onscreen human dramatization? Debutant executive Neerav Ghosh, with unbelievable help from his driving man Rajeev Khandelwal, makes a fascinating barrier of hostile to debauchery.
Over the top extravagance is imbecilic. It can likewise make you hard of hearing. So says the film’s very much made screenplay. The message is driven home with an invigorating nonattendance of pretentiousness.
A great deal of the film’s show, if not all, is gotten from Canadian film It’s All Gone Pete Tong discharged six years back. That film’s helpful pushes are moved with familiarity and virility into Ghosh’s specialty assault on the wages of over the top delight interest.
Twist
Paul Kaye, who had played the lead in the first film, had conveyed a pitch-impeccable loss-of-hearing increase of-soul execution. Khandelwal goes past the exigencies of his character looking for his lost character’s tormented soul.
In the successions where he grapples with his deafness, the entertainer brings to his face and build the unmitigated anguish of a man watching himself topple over the edge.
It’s a splendid presentation, by a wide margin the best male exhibition this year. Regardless of whether it’s the non-verbal communication of a wild DJ celebrating the evenings away in a cloudiness of liquor or imparting those delicate minutes to Soha Ali Khan (adorable, delicate, touchy and powerful), Ravee Khandelwal’s face maps out the character’s tormented trip into frightening stillness.
Songs
Playing a man who watches his life turn crazy, the presentation could have effectively toppled over the edge. It holds.
The executive uses a remarkable soundtrack. There are alarming stone numbers accentuating Raunak’s journey into the accursed. Old tunes like Yeh jeevan hai iss jeevan ka yehi hai rang-roop or, for a wonderfully created sentimental recess between Rajiv-Soha in the recreation center, Khullam khulla pyar karenge murmur donon are accustomed to charming impact.
The account moves in three unsurprising however throbbing segments.
Performances
Raunak’s plummet into a decadent heck, his breaking deafness and, the best part is that the reclamation that he finds through a fog of self-hatred as he takes off into a universe of pure love (a dash of Guru Dutt’s Pyasa at last when Raunak essentially evaporates from the universe of merciless personal circumstance) – for a first-time chief, Ghosh shows amazing power over his dissipated material on his broke hero.
In fact the narrating gadget (notable genuine DJs and VJs are roped in to discuss ‘Raunak’) is obtained from the Canadian film. However, what the heck! Nothing in life is unique. Not paradise not hellfire. Not delight, not torment, and surely not craftsmanship.
The nonappearance of over-nostalgia and oneself ridiculing humor applied to Raunak’s difficulty instill an abundance of smooth development to the narrating.
Conclusion
That is correct, Soundtrack takes care of business. In recounting to the tale of a man who quits hearing the world outside to at last beginning hearing his own internal voice, the film’s solid feeling of dramatization and recovery are practically identical with the film of Sanjay Leela Bhansali.
Soundtrack is a spirit mixing story of a performer’s journey into stunning indulgence and a tranquil reclamation.
The chief suffuses the soundtrack with grabs of a music that move a genuinely standard moving story to the circle of a cutting edge moral tale.
With respect to Khandelwal, his exhibition is cultivated to the point that he demonstrates, not just because, that he’s among the most captivating entertainers today. For the cash, time and consideration, he is the genuine demigod.
tamilrocker 