Friday, April 25, 2008

‘Billa’ for Cannes

Ajith starrer ‘Billa’, directed by Vishnuvardhan will be screened at the prestigious Cannes Film Festival this May.

Considered one of the coveted film festivals wherein movies from various countries across the globe would be screened, Ajith starrer ‘Billa’ has been selected.

Vishnuvardhan and producer Anandha Suresh would be flying to Cannes to attend the screening of the movie.

The movie, a remake of yesteryear Rajini hit titled the same features Ajith, Nayantara, Prabhu, Rahman among others in the cast.

Nirav Shah has cranked the camera while Yuvanshankar Raja has scored the music.

Jackie arrives in town

Jackie Chan arrived in Chennai to participate in the audio launch of the ‘Dasavadharam’ on Thursday. He was surrounded by media persons and fans at the airport.

Jackie will be taking part in the audio launch of ‘Dasavadharam’, which will be attended by Chief Minister M Karunanidhi, actors Amitabh Bachchan, Mammootty, Hemamalini, Asin among others.

A grand dais has been put up at Jawaharlal Nehru Stadium for the mega event.

The movie features Kamal Haasan in ten different roles and is directed by K S Ravikumar. Himesh Reshammiya has scored music for the movie.

Wind

Wind is the flow of air. More generally, it is the flow of the gases which compose an atmosphere; since wind is not unique to Earth. Simply it occurs as air is heated by the sun and thus rises. Cool air then rushes in to occupy the area from which the hot air has now moved. It could be loosely classed as convection current.

Winds are commonly classified by their spatial scale, their speed, and the types of forces that cause them, the geographic regions in which they occur, or their effect.

There are global winds, such as the wind belts which exist between the atmospheric circulation cells. There are upper-level winds which typically include narrow belts of concentrated flow called jet streams. There are synoptic-scale winds that result from pressure differences in surface air masses in the middle latitudes, and there are winds that come about as a consequence of geographic features, such as the sea breezes on coastlines or canyon breezes near mountains. Mesoscale winds are those which act on a local scale, such as gust fronts. At the smallest scale are the microscale winds, which blow on a scale of only tens to hundreds of meters and are essentially unpredictable, such as dust devils and microbursts.

Forces which drive wind or affect it are the pressure gradient force, the Coriolis force, buoyancy forces, and friction forces. When a difference in pressure exists between two adjacent air masses, the air tends to flow from the region of high pressure to the region of low pressure. On a rotating planet, flows will be acted upon by the Coriolis force, in regions sufficiently far from the equator and sufficiently high above the surface.

The three major driving factors of large scale global winds are the differential heating between the equator and the poles (difference in absorption of solar energy between these climate zones), and the rotation of the planet. Winds can shape landforms, via a variety of eolian processes.

Local winds that are tied to specific temperature distributions

Some local winds blow only under certain circumstances, i.e. they require a certain temperature distribution.

Differential heating is the motive force behind land breezes and sea breezes (or, in the case of larger lakes, lake breezes), also known as on- or off-shore winds. Land absorbs and radiates heat faster than water, but water releases heat over a longer period of time. The result is that, in locations where sea and land meet, heat absorbed over the day will be radiated more quickly by the land at night, cooling the air. Over the sea, heat is still being released into the air at night, which rises. This convective motion draws the cool land air in to replace the rising air, resulting in a land breeze in the late night and early morning. During the day, the roles are reversed. Warm air over the land rises, pulling cool air in from the sea to replace it, giving a sea breeze during the afternoon and evening.

Mountain breezes and valley breezes are due to a combination of differential heating and geometry. When the sun rises, it is the tops of the mountain peaks which receive first light, and as the day progresses, the mountain slopes take on a greater heat load than the valleys. These results in a temperature inequity between the two, and as warm air rises off the slopes, cool air moves up out of the valleys to replace it. This upslope wind is called a valley breeze. The opposite effect takes place in the afternoon, as the valley radiates heat. The peaks, long since cooled [vague], transport air into the valley in a process that is partly gravitational and partly convective and is called a mountain breeze.

Forested areas are less windy than plains and cities because the trees disrupt wind patterns. Trees are defined to have a dampening effect on wind speeds in that they reduce the partial derivative of pressure differences across non-infinitively occupying plain. Further effects of trees wind reducing capabilities is in the fact that trees bend in the wind. Considering the mass of a tree in comparison to air particles it is highly predicable that much of the total energy of the wind is lost in kinetic energy to the trees.

Mountain breezes are one example of what is known more generally as a katabatic wind. These are winds driven by cold air flowing down a slope, and occur on the largest scale in Greenland and Antarctica. Most often, this term refers to winds which form when air which has cooled over a high, cold plateau is set in motion and descends under the influence of gravity. Winds of this type are common in regions of Mongolia and in glaciated locations.

Because katabatic refers specifically to the vertical motion of the wind, this group also includes winds which form on the lee side of mountains, and heat as a consequence of compression. Such winds may undergo a temperature increase of 20 °C (68 °F) or more, and many of the world's "named" winds (see list below) belong to this group. Among the most well-known of these winds are the chinook of Western Canada and the American Northwest, the Swiss föhn, California's infamous Santa Ana wind, and the French Mistral.

The opposite of a katabatic wind is an anabatic wind, or an upward-moving wind. The above-described valley breeze is an anabatic wind.

A widely-used term, though one not formally recognised by meteorologists, is orographic wind. This refers to air which undergoes orographic lifting. Most often, this is in the context of winds such as the chinook or the föhn, which undergo lifting by mountain ranges before descending and warming on the lee side.

Winds that are defined by an equilibrium of physical forces

These winds are used in the decomposition and analysis of wind profiles. They are useful for simplifying the atmospheric equations of motion and for making qualitative arguments about the horizontal and vertical distribution of winds. Examples are:

  • Geostrophic wind (wind that is a result of the balance between Coriolis force and pressure gradient force; flows parallel to isobars and approximates the flow above the atmospheric boundary layer in the midlatitudes if frictional effects are low)
  • Thermal wind (not actually a wind but a wind difference between two levels; only exists in an atmosphere with horizontal temperature gradients, i.e. baroclinicity)
  • Ageostropic wind (difference between actual and geostrophic wind; the wind component which is responsible for air "filling up" cyclones over time)
  • Gradient wind (like geostrophic wind but also including centrifugal force)

Names for specific winds in certain regions

In ancient Greek mythology, the four winds were personified as gods, called the Anemoi. These included Boreas, Notos, Euros, and Zephyros. The Ancient Greeks also observed the seasonal change of the winds, as evidenced by the Tower of the Winds in Athens.

In modern usage, many local wind systems have their own names.

Meteorological instruments to measure wind speed and/or direction

Wind direction is reported by the direction from which it originates. For example, a northerly wind blows from the north to the south.

Local sensing techniques

  • Anemometer (measures wind speed, either directly, e.g. with rotating cups, or indirectly, e.g. via pressure differences or the propagation speed of ultrasound signals)
  • Rawinsonde (GPS-based wind measurement is performed by the probe)
  • Weather balloon (passive measurement, balloon position is tracked from the ground visually or via radar; wind profile is computed from drift rate and the theoretical speed of ascent)
  • Weather vane (used to indicate wind direction)
  • Windsock (primarily used to indicate wind direction, may also be used to estimate wind speed by its angle)
  • Pitot tubes

Remote sensing techniques:

  • SODAR
  • Doppler LIDARs can measure the Doppler shift of light reflected off suspended aerosols or molecules. This measurement can be directly related to wind velocity.
  • Radiometers and Radars can be used to measure the surface roughness of the ocean from space or airplanes. This measurement can be used to estimate wind velocity close to the sea surface over oceans.

Tashan Movie Review

With Tashan’s release, it seems like Yash Raj Films is beginning to find new ground.After a string of boos and a Chak De! India in between, Yash Raj Films has dared to make something new and different.

It’s just not love sagas and a few songs this time, it’s all that and a lot more action and one helluva twisted plot. The film, though with many slips, is thoroughly engaging and entertaining. The vibrancy and spunk keeps it alive and loaded.

Bhaiyyaji (Anil Kapoor) wants to learn English to impress and a call centre executive and diction coach Jimmy (Saif Ali Khan) comes to his rescue. But convincing him to teach Bhaiyyaji was Pooja’s (Kareena) job. A smart cookie, she manages well. Learning to fall in love with Pooja was not as difficult as teaching Bhaiyyaji to speak in English, for Jimmy. But where a smart cookie crumbles there lies deception.

What follows is the tale of deception, double crossing and more than one can imagine.

Somewhere caught between is an angry don and a deceived English tutor. Found on the way is Bachchan Pande (Akshay Kumar) who initially from the tracker and hitman becomes the tracked. Trailing through this is the complete package of love, memories, brilliant songs and heavy duty action.

To start with, the plot is interesting. Though it’s a wee bit twisted, it is cleverly scripted. There isn’t an overdose of anything and more or less things are to the point making the entire viewing experience fun, just as it is meant to be.

At this point one must commend the dialogue writer for the spunky and zesty dialogues that bring a smile to your face. The lines are not new, but the language is and so is the essence packed in it making it different and in a sense new.

Character development is another area that is thoroughly laudable. There is great character build up that is relevant and not something that is done on a superficial level. Many might consider it superficial, however if one tries to look beyond the gloss and the glamour that the film offers in abundance, you see the character actually moving ahead with the story and growing stronger indicating change.

However saying it was perfect is unjustified, a lot of unnecessary delving is seen, which if avoided would have resulted in a much more crunchy and powerful film. Also the oration in the end comes across as a sermon, but this once you won’t mind.

Filled with tons of colour and gloss the film is a visual treat. Sadly though the sloppy-in-parts editing does nothing to make it anymore rich or crisp. Aki Narula’s clothes look fantastic, the textures and colours on display make your jaw drop with awe.

The music is great as well, though the same cannot be said about the choreography except for Dil Dance Maare, which is a rocker. Songs like Falak Tak and Dil Haara have the actors doing the most lifeless steps.

When it comes to acting, the film belongs solely to Akshay Kumar who has taken home the trophy. He is in full form in this film and delivers his best till date. His body language, diction and style is all true to the character. Anil Kapoor too delivers a noteworthy performance. He brings life to the lines and the character, which is hard to imagine someone else play. Kareena Kapoor looks ravishing but that’s about it, pouts galore and some action scenes are all she delivers. Saif Ali Khan does well, but sadly the role does no justice to him. His usual magic fails to be seen in this film.

This film has action, drama, romance and helluva lot of comedy, if this ain’t a power packed entertainer; it’s hard to say what is.

Get out of home and watch it… it’s solid entertainment.

Rating: 3 ½ Stars on 5



Thursday, April 24, 2008

Tashan Movie Preview

Cast

Anil Kapoor, Saif Ali Khan, Akshay Kumar, Kareena Kapoor, Sanjay Mishra, Manoj Pahwa, Yashpal Sharma

Crew

Publicity Designer: Fayyaz Badruddin

Story Writer: Vijay Krishna Acharya

Costume Designer: Aki Narula

Sound Designer: Ali Merchant

Director: Vijay Krishna Acharya

Producer: Aditya Chopra

Banner: Yash Raj Films

Music

Music Director: Shekhar Ravjiani, Vishal Dadlani

Playback Singer: Kareena Kapoor, Akshay Kumar, Saif Ali Khan, Salim Merchant, Mahalaxmi Iyer, Piyush Mishra, Udit Narayan, Vishal Dadlani, Sunidhi Chauhan, Sukhwinder Singh

Lyricist: Vishal Dadlani, Kausar Munir, Piyush Mishra, Anvita Dutt Guptan

Tashan is the forthcoming movie featuring Akshay, Saif Ali Khan, Kareena Kapoor and Anil Kapoor. Under the banner of Yash Raj Films, the movie is a directorial debut of Vijay Krishna Acharya, who wrote the screenplay and dialogues for the smash hits Dhoom and Dhoom 2. The movie is scheduled to release on April 25, 2008.

What happens when you throw two guys who hate each other together?

A cool call center executive Jimmy Cliff (Saif Ali Khan), a desi wannabe gangster Bachchan Pande (Akshay Kumar) add for good measure a beautiful girl Pooja (Kareena Kapoor) who can't be trusted... on a journey across spectacular India... a journey which will alter the course of their lives in more ways than one... a journey where even enemies need to trust each other if they want to be alive...

Trouble is, in this world no one can be trusted ever!

And to top it all there is the evil eye of Bhaiyyaji (Anil Kapoor)... a maverick gangster who enjoys killing people as much as he enjoys speaking English...

Akshay and Saif, the most loved on-screen pair of Bollywood make a comeback with this film, expecting to make it big at the box office yet again. With Tashan, even Anil Kapoor makes a comeback to Yash Raj banner after 15 long years. Although Anil Kapoor has juggled several characters with negative shades, this movie would mark his first entry as a villain.

Tashan also introduces eight-year-old Ebrahim who plays a really naughty child in the film. None other than Saif and Amrita’s son, Ebrahim’s role though not long marks an important twist to the story. He plays Saif’s son in the movie as well. Kareen plays a very glamorous role playing the romantic interest of Akshay and Saif.

With music score given by Vishal-Shekhar coupled with great star cast, this directorial venture of Vijay Krishna promises to be a real entertainer.


Tuesday, April 22, 2008

Tashan Music Review

Banner: Yash Raj Films

Cast: Anil Kapoor, Akshay Kumar, Saif Ali Khan, Kareena Kapoor

Direction: Vijay Krishna Acharya

Production: Aditya Chopra

Music: Vishal, Shekhar

Tashan marks the debut of Vijay Krishna Acharya aka Victor, the man behind the scripts of Dhoom. Tashan comes across as Yash Raj Films first venture of the New Year and is one of the most expected movies of the year for its mix and match casting.

The music of the film has been accredited to the hit duo of Vishal and Shekar whose last Om Shanti Om saw huge success.

The album opens with ‘Dil Haara’a rock cum folksy affair rendered by Sukwinder Singh. The lyrics have been penned by Piyush Sharma and the track has some motivating phrases. The pumping elements in the form of “oo-aah” signature and the electric guitars enhance Sukhwinder’s vocals. But, the track fails to really make it as one of those numbers that either sink into you or make you hum it and sounds quite familiar to various tracks done in the past be it from Omkara and the works. Yet the track seems to be doing well with its picturisation on Saif Ali Khan doing the rounds.

Chaliyya’ comes across as a gypsy turned babe raunchy number. The lyrics by Anvita Dutt Guptan have some really catchy phrases and lines with a Hinglish touch to it. The track gets its punch with the coarse voice of Sunidhi Chauhan bringing in the ‘Na Lada Na Lada’ lines with complete excellence. The track is sure set to be remembered particularly for the pretty visuals featuring Kareena Kapoor.

Dil Dance Maare’ comes in as the best track of the album with lyrics that has ensured that audiences from several parts of the country don’t miss this film. With lyrics that is a combination of English, Hindi and Bhojpuri, the track is a sure shot hit. The lyrics have been penned by Vishal Dadlani himself and the track has been rendered by Sukhwinder Singh , Sunidhi Chauhan and of course apna Bhojpuri music’s sensational voice and producer of several Bhojpuri films-Udit Narayan. He makes his presence felt in a Hindi film album after a long time.

The lyrics of the track has easy catchy phrases like ‘White white face…..dil beating fast Sasura..dil ke theatre ma advance maare’ that make it an easy to remember track and one of immense mass appeal.

Falak Tak’ is the only soothingly romantic track of the album. The track comes in as a break from the loud and vivacious songs of this album. The lyrics have been penned by Kausar Munir. The track has been crooned by Udit Narayan once again and to support him on the vocal front is Mahalakshmi Iyer. There seems to be similarities between this number and ‘Bol na Halke Halke’ from ‘Jhoom Barabar Jhoom’ yet ‘Falak Tak’ comes in a very refreshing manner.

Tashan Mein’ comes in more as a background score rather than a full fledged title track. The repeat value of the lines ‘Tashan Mein’ is what gives it a feel suitable to being a pulsating background track. The voices of Vishal and Saleem enhanced by lyrics penned by Piyush Mishra and Vishal himself provide the stylish, sleek and rock feel to the song. It isn’t the best title track around but is sure to be raised to another level with visuals revolving around Saif, Kareena, Akshay and Anil.

Another unique characteristic of the album is that it brings across the attitude and Tashan (style) expressed by each character in the film in terms of dialogues. 'Pooja Ka Tashan' by Kareena, 'Jimmy Ka Tashan' by Saif, 'Bachchan Pande Ka Tashan' by Akshay and 'Bhaiyyaji Ka Tashan' by Anil respectively. The finest of these come from Akshay as Bachchan Pande and Bhaiyyaji is pretty interesting with lines such as ‘I issspeaking English Phully..sahi galat ko maaro goli!’ but draws similarities to Javed Jaffrey from Salam Namaste.

On the whole, Tashan comes in as a good blend of diverse languages and it’s the Bhojpuri element that brings in the zing and carries the true tashan of the album. With an appealing star cast and their unique tashan’s, the tracks are set for a face lift as the promotion of the tracks are set to get more intense over the next few days.

Tashan - a good blend of English, Hindi and Bhojpuri

Rating: 3 ½ Stars on 5

Aamir’s Third home production

Aamir Khan takes a big break between producing movies. After ‘Lagaan , ‘Taare Zameen Par’ came after a long time.

The films also when released went on to show the result of the quality time spent on them.

So the third home production of Superstar Aamir Khan will not have any difficulty in bringing in adequate media attention for the promotion of the film.

And who is the luckiest guy here?

Imran Khan, the hero of the new film ‘Jaane Tu Ya Jaane Na’.

The new actor will have to endure the big curiosity and expectations from the media and B-Town because of him being Aamir Khan’s nephew.

Abbas Tyrewala will try to make a mark in Bollywood as a director with this film.

The promo video has reportedly been already shot.

This time, what is going to be the difference other than the new hero?

IIFA 2008 minus ‘Taare Zameen Par’

Even if Aamir Khan never goes to an awards ceremony and don’t care to send the films from his production company for nominations, ‘Taare Zameen Par’ with it’ huge popularity and super hit status naturally became one among the nominations in the different award functions.

If Aamir’s latest super hit were among the nominated films in IIFA 2008, It surely would have made the day at Bangkok more memorable for the whole of Bollywood as well as the large number of people from the around the world watching the program.

The movie with it’s true to life characters and simple settings climbed the box office ladder with the sheer strength of its content and performances and have become a film which so many people would love to keep close to their heart and in their all time favourite list.

The IIFA awards are considered to be an event where the Bollywood gets the attention of the media around the world.

The sheer magnitude of the award function and Mr. Amitabh Bachchan himself being the brand ambassador of the grand event could not persuade Aamir Khan to submit his second home production and super hit film ‘Taare Zameen Par’ for the nominations.

Although all the other films in the different nominated categories have proved their quality and showed that they deserve every bit of their success at the box office, the spirit of competition at IIFA would have been much richer with the simple yet powerful ‘Tarre Zameen Par’.