![]() It also is a pointer to the fact that the film fraternity needs to revisit its idea of using a front line star in the item number as it seems to be losing its relevance after all, every product in marketing parlance has its timeline, and an expiry date. What it also underlines is the fact that the kind of gay abandon that Zeenat Aman had brought into her character in HARE RAMA HARE KRISHNA could not be brought in the same magnitude by Deepika in DUM MAARO DUM though she tried her level best to do so, primarily because of the fact that Deepika did not form a central character of the film to create an identity with the song. One has to understand that each song when it is composed in a particular time, factors in the context and the content and it cannot be juxtaposed after yanking it out from the original mooring. ![]() Indeed, in Rohan Sippy's DUM MAARO DUM, though Deepika Padukone has been able to generate an aura about the song, it has not been able to set the imagination of youth on fire. Dev Anand indeed would be feeling vindicated that the kind of reservation he had about using his anthem song "Dum Maro Dum" from HARE RAMA HARE KRISHNA would not be having the same kind of impact in DUM MAARO DUM, as the scenario and the ambience between the two films was quite in contrast.
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