Uthama villian audio launch images!!

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Kamal Haasan To Do A Telugu Film Soon

Kamal hassan has graced the show,Meelo everu koteeswarudu for the last episode of its 2nd season. This Telugu Version of KBC is hosted by Nagarjuna and he was so particular about the legend closing the show with his beautiful words. While talking to Nag, Kamal Haasan revealed that he is going to do a straight Telugu film soon.

The news has indeed come as a surprise to his Telugu fans, who are waiting for a Telugu film of Kamal since so long. He also added that, shruthi hassan has been acting like an ambassador for Telugu Industry of late. She said to be stressing on Kamal Haasan to do a Telugu film and called it a very friendly place to work. 

Kamal Haasan went on to share many beautiful lessons he has learned in life with his fans through the show. His words and simplicity has again made his fans fall for him head over heels. Nagarjuna was also so thrilled to hear such enlightening words from Kamal Haasan.

On the lighter note, He also shared his fan boy moments with the legend, Late Akkineni Nageshwara Rao, when Kamal was a small-time dance choreographer. 

When Kamal Haasan was 16, he has first choreographed a song to ANR in the film Srimanthudu and that was the first time he met him. Kamal shared that, ANR was simple to be nice to a small technician like me being a star hero.

Kamal Haasan has also crooned a song from the film, with the perfect Telugu lyrics and mesmerized the audience, along with Nagarjuna. Well! This truly proves legends have become legends for a reason.

Uttama Villain' Trailer 2 !!

The second trailer of 'Uttama Villain' directed by Ramesh Aravind was revealed at the audio launch function held yesterday. The movie is jointly produced by Thirupathi Brothers and Raj Kamal Films International. Uttama Villain features Kamal Haasan, Pooja Kumar, Andrea, Jayaram among others and the late K Balachander has played an important role in the film where Ghibran scores music. Kamal Haasan who has completed three of his films, Vishwaroopam 2, Papanasam and Uttama Villain is busy in the post production works of these films. 

Kamal launches Uthama Villain audio on Facetime !!

Kamal Haasan is known for his innovative and novel ideas. He has proved this once again at the Uthama Villain audio launch held yesterday in Chennai. The Ulaga Nayagan called his eldest daughter, Shruti Haasan on Facetime and asked her download the Uthama Villain audio app, which marked it release.

This is indeed an unique way of releasing the audio of a film and has happened for the first time ever in the Indian cinema.

Uthama Villain, starring Kamal, Andrea and Pooja Kumar, has music by Ghibran. Ramesh Aravind has composed the music for this film. Speaking about Ghibran, Kamal said that having worked with the maestro, Ilayaraja in over 100 films, he has proved his mettle by coming out with some excellent stuff for Uthama Villain.

KAMAL HAASAN PLANS HIS RETURN TO B’WOOD

Currently, he's busy with his Tamil drama, Uttama Villain, revolving around the life of a mega star and his mentor. But Mirror has learnt that Kamal Haasan has also finished scripting his next, a Bollywood production which examines the nexus between politics and money launderers. Haasan will direct and star in the film with a B'town A-lister with whom talks are on. The film was originally planned in 2012 but he got busy with Vishvaroopam and this film was put on the back-burner.

But recently, Haasan had a meeting with Virender Arora and Arjun K. Kapoor, (producers of Pankaj Kapur-Lara Dutta starrer Abhi Nahi To Kabhi Nahi), and the project was revived. It will go on floors in November with an international crew.

Confirming this, Kapoor told Mirror, "Our collaboration with Mr Haasan will be mounted on a sweeping scale as it delves into forbidden political corridors and the nexus with the underworld." Kamal Haasan who was at a music launch, added, "I expect to complete the principal shooting within five months of the film's commencement. People who have read my script might think I am bragging, but my team's readiness and preparation has emboldened me to make this claim."

Music that takes you far, far away from Tamil cinema

Baradwaj Rangan spends an afternoon listening to composer Ghibran’s work in Uttama Villain , and comes away soaking in the element of fantasy in the sound
A little after 12 p.m., last Saturday, I stepped into a recording studio in R.A. Puram.

The television set in the reception area said UAE were 36/3 in their World Cup match against India. There were a couple of couches there, a few people propped on them.

They didn’t seem particularly invested in the outcome of the match. India would win. It was just a matter of time. Still, it was there, like the two-year-old issues of TIME magazine you find at your local general physician’s office.

I hung around a bit. At 41/4, I was led into a room with a Mac, and P. Ragavendran — film composer Ghibran’s music producer and manager, who also handles the public relations; it was on his invitation I was there — began to play a song from the new Kamal Haasan-starrer Uttama Villain.

Kaadhalaam kadavul mun , it went. It’s sung by Padmalatha, and it’s what the industry calls a ‘melody song’, a strange term, considering that all songs traverse some kind of melodic arc. But what they mean is that it isn’t, say, a kuthu number.

This isn’t the kind of song you’d immediately hand over to the choreographer. It’s the kind of song you’d try to fill on screen with a Balu Mahendra-style montage of mood shots.

All pop music — and film songs are our pop music — has an element of repetition. The songs open with the pallavi (our version of the Western pop song’s chorus) and keep returning to it. And pairs of lines in the charanam (verse) are often set to the same tune.

Ghibran has an interesting way of adhering to this structure, yet breaking away from it. There’s always a tweak the second time the melodic line is repeated. Sometimes, the closing stretch grazes a lower note. Or only the first line of the chorus is sung in a lower octave.

You know that thing where you hear a song and a phrase suddenly yanks you out of the present and deposits you in front of a radio set, circa 1980? That happened to me.

Suddenly, I was thinking about the Gangai Amaran song, Nyaabagam illaiyo kanne . Maybe it’s the raga . Ghibran, who joined us later, told me he’d tuned this song in Maru Bihag .

Next, Iraniyan naadagam . The lines, written by Kamal (who voices Hiranyakashipu), are blazingly theatrical: en udhirathin vidhai/en uyir udhirtha sadhai .

There’s great variety in the percussion, not just in the different instruments used but also in the rhythm patterns. Sometimes, the drums just come to a halt. The base is the traditional koothu , so all lines are sung — and given the Western-classical wrapping, the lines also sound like the recitative of a Broadway musical. The number keeps soaring and climaxes in anthemic swells.

After this, Love-aa love-aa was almost an anti-climax. It’s the most mainstream thing I’d heard that far — an insanely catchy tune, with hard-driving beats that sound as if they’re ripping the song to shreds, and a vast dynamic range, comprising the audio equivalent of the close-up as well as the wide shot.

Kamal hasn’t sounded this young and peppy in a while, and his borderline-falsetto here is effectively contrasted with a female voice that sounds like Usha Uthup trapped inside a boom box. It’s the kind of song that’s an instant hit. This film probably needs this song.

A youngish chap popped in, dressed casually in a T-shirt and cut-offs, and it took me a minute to realise this was Ghibran. He was taking a break from the recording session in another room.

We spoke about the modernised koothu in Iraniyan naadagam . He said it didn’t start from a musical point of view, the way a composer thinks of this raga or that scale when a song situation or a scene is narrated to him.

It began, instead, from the point of view of the scene. Imagine that Hiranyakashipu and Prahlada are having a fight. Imagine the raised voices, the back-and-forth exchanges.

When Ghibran studied music at the Lasalle College of the Arts, Singapore, he was exposed to Austrian composer Arnold Schoenberg’s atonal music and Sprechstimme (recitation that’s declaimed melodramatically, hovering between the spoken and the sung). He realised that Sprechstimme was just like our koothu . Only, the latter did not have that kind of orchestral accompaniment.

So koothu , with a dash of atonality, became the base for Iraniyan naadagam . Kamal had the whole narrative ready. He and Ghibran talked and rehearsed and decided how much time each exchange would take. And then the Western classical elements came in.

Ghibran said it was challenging because some parts had already been shot with actors speaking the lines and then Kamal felt it would be better if they sang those same lines. Ghibran worked for a year-and-a-half on the score.

When he left, we turned to the other songs. Uttaman arimugam is what you’d call a rocking villupaattu . The baton-passing between Kamal, villupaattu exponent Subbu Arumugam and the all-male chorus is terrific. Next, the soulful Saagaavaram (I wonder if that word was used anywhere before Kamal used it in Virumaandi ’s Onna vida ).

Peel back the orchestration, and the song sounds like one of those philosophical numbers M.S. Viswanathan used to sing in 1970s’ films — say, Kandathai sollugiren . I’m not talking about the tune. I’m talking about the feel.

There’s another story in Mutharasan kadhai , all eight minutes and 13 seconds of it. Then, Uttaman kadhai . I kept thinking about how the album was filled with words and names that point towards immortality — saagaavaram , mrityunjay , and even Iraniyan , who sought everlasting life. Maybe that is the film’s theme.

The instrumental pieces really made the album for me. The theme music opens with sounds that seem to be erupting from the bowels of the earth, and then the title is repeated in an ominous monotone, as if by the members of the cult in Indiana Jones and the Temple of Doom — the song then becomes more modern.

Guru and sishya is more romantic — rather, Romantic. It takes you back to Debussy, Chopin. More instrumentals — Uttaman and Karpagavalli , Father and son , Letter from and to Yamini , Dr. Aparna , and possibly my favourite after two listens, the exquisite Father and daughter .

This is probably the ‘analog’ part of the score. The sound is softer and the music sweeps you to a place far, far away from Tamil cinema. Throughout the album, the strings work is wonderful, and the violins sound so soft in the instrumental pieces that you may be reminded of John Barry’s score for Out of Africa . Again, I’m not talking about the tune. I’m talking about the feel.

The team that won the Oscar for Best Sound Mixing this year (for Whiplash ) has worked on this album. Maybe the softness is their doing.

Ghibran said they decided to do away with all instruments traditionally used in period films — tabla, ghatam, dholak.

Uttaman’s story unfolds in a fantasy land, so there’s an element of fantasy in the sound too. There’s a lot of music in the movie, but only 67 minutes of it made it to the album. I don’t remember how much time I spent inside the studio, but when I left, M.S. Dhoni was smiling into a mike. India had won.

Kamal App-loads Uthama Villain Audio

CHENNAI: Employing characteristic out-of-the-box methods, Kamal Haasan launched the audio of his upcoming film Uthama Villain on an app, instead of conventional CDs in a function at the Chennai Trade Centre on Sunday.
At the launch, while on stage, he called his daughter Shruti, who was in Mumbai, on Facetime. Shruti, not knowing that her father was launching the app with the audio, was chatting away with her father about day-to-day affairs, when Kamal Haasan revealed that she was being seen by over 1,000 fans and special invitees eagerly waiting for the audio launch.
A panel discussion involving Kamal Haasan, Parthiban, Madan Karky and Villupaatu Subbu Arunachalam followed which droned on and after over two hours, the crowd was beginning to thin.
Sensing the crowd’s impatience, the film’s Lingusamy intervened, “Shall we go on to launch the audio?” causing the discussion to be cut short.
The audience was then treated to a sneak peek into the visuals of a couple of songs of the late K Balachander, who was instrumental in bringing out the latent talents of Kamal Haasan and music director Ghibran, laced with the wit of actor Parthiban who hosted the show.
The event was not without controversies. A number of fans with ‘Fan’ and ‘VIP’ passes were not let in due to lack of space. “I have been an ardent fan of Kamal for 25 years. I came here at 5 pm, hoping to get a glimpse of the actor. But there were not enough seats,” rued one of them.