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R Rahman's finesse of conglomerating out various moods, sounds and genres for international project makes its presence felt worldwide. Will SLUMDOG MILLIONAIRE be surpassing all maestros' last previous international works? A with Rahman for the first time where bombastically thumped drumming and thriving percussions takes the aerial route in lifting up spirits. A slender vociferous has bouncy inputs that gives it an international outlook. Saaya' can be well one among those soundtracks that speaks volumes about Rahman's prowess as musician than composer. 'Riots', a thumping and daunting instrumental number brings out different beats and sounds that collage together to emote out an intimidating thrive of gory happenings.
Does the global musical feel encapsulated in the album will have enough captivating potency to lure Indian listeners? This outrageously loud number works like edgy but pulsating background score that script out the hustle-bustle of Mumbai city with a sentimental choir in Rahman's fluid vocals. This brief instrumental has North African style drumming with electronic tunes that sets an everlasting impression of events. The subtlety of Eastern musical flair meets the solemnity of Western feel with rigorously plucked 'Sitar' amalgamating up animatedly with rhythm loops, aggressive percussions and guitar riffs in 'fusion' feel track 'Mausam and Escape'.
The soul of Indian classical vocals gets melodic eruption with racy orchestral flows in consequentially played instrumental number 'Liquid Dance'.
It has fiery and passionate vocals from purists like Madhumita and Palakkad Sriram that get fiercely interwoven in wildly punched percussive elements to create a ferocious feel for the compelling situations and moments of the flick.
As he does so, we see how Jamal's complicated life as an orphan in India has allowed him to acquire the piecemeal knowledge that enables his success on the show.
Votes are used to help determine the most interesting content on RYM. Structurally, telling the story of a couple destined to be together in flashback, those flashbacks themselves structured around the questions posed seriatim on a quiz show is a pretty clever conceit, even if Boyle picks it up from the source novel.Kapoor's performance is fine in this regard and it is part of the mechanism that draws us to pity poor grown up Jamal (Dev Patel). Indeed, will admit the reason I rewatched (and finally got around to reviewing this) was because of my increasing respect for Khan's acting. His character begins as skeptical that a mere chai wallah like Jamal could have succeeded so well on the show and his job is to cajole, beat or torture the truth out of him.Suppose one is either supposed to lionize this as the best thing since sliced bread or rant about how impoverished or sentimental Boyle's vision is. The two characterizations that stand out for me are those of the quiz show host (Anil Kapoor) and the police interrogator (Irrfan Khan). Though he is all smarmy bonhomie and condescending snideness on his show, he seethes with growing contempt and hatred for Jamal. It isn't a solution to India's ills nor is it meant to be. All the avatars of Salim, Jamal and Latika are cute and engaging enough.