STRINGS-bound by faith

A Travelouge love story.90min,35mm,1:1.85 aspect ratio,Dolby Digital,Colour,English/Hindi.2006.INDIA.

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Location: bombay, India

Son of a soldier, I was born in Sultanganj in Bhagalpur district, Bihar. My childhood days were spent in an earthy rural life. I was deeply inspired by the rich folk culture of Buddha’s own land, Bihar. Right from the beginning, I Grew up with real images of Melas, Ramleelas, Bahuripiyas, incredible rituals, strong religious milieu and the vibrant Mithila Art. Natural calamities like flood and drought gifted unforgettable images. Changing seasons of rural life on the bank of river Ganga matured into a sense of poetry and language. Wonder years passed chasing steam trains that passed through the fields of my native village. Listening to radio programs made for defense personals was my only window to the outside world. With such a treasure of inspirational experiences a story teller evolved. I am a practicing film maker in Bombay today.

On the name of religion dozens of Hindu hermits in saffron robes angrily burned the CDs and posters of 'Strings'.

Hindu hermits burn the effigy of Sanjay Jha, the director of Bollywood film Strings, during a protest in Allahabad, India, Monday, July 17, 2006.

Wednesday, August 16, 2006

An eclectic sound mix
Music review: Strings

Rate: **1/2
by :Piyush Roy

Irreverence is the tone in Strings

An interesting mix of sounds, that’s the feeling a first time listening of Strings – Bound By Faith, evokes in you. Clue in a bit more to its lyrics and you can’t miss the tone of ‘youthful irreverence’ writ large on its tracks. How else could you get away with equating the celestial chant ‘Om’ to anything and everything under the sun from a ‘dayan ki cheekh, chitkar, petrol, kranti, khargosh ke singh’ to even a ‘buddhe ki aankh, chori ka kajal’ and sign off calling it simply ‘bakwas.’
But if the theme of the Sanjay Jha film is a travelogue love story with Nashik’s Mahakumbh forming a spiritual backdrop, music director Zubeen Garg does justice to its music by packing in a range of diverse sounds and beats from the hinterland, with a contemporary zing in line with the sensibilities of the film’s lead protagonist - a young discoverer.
My pick of the album is the opening Piya milan ko jana a very 2000-isque interpretation of Pankaj Mallick’s evergreen gem of a song from Kapalkundala (1939). Music director Garg, who happens to be the singer of most of the film’s songs, registers an impact, especially with the spiritual Ramo Ramo.
Go for the album if you ok with contemporary beats, but beware its rebellious irreverence, while fun at large, could rub the fanatics the wrong way.

***** Burn the dance floor ****Rocking ***Easy Listening **Off-key *Jarring
PAGE 9: HT Style Mumbai, Friday, June 23, 2006,


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