Nanban Hd 1080p Video Songs Download
Karla Cassone
Nanban is the soundtrack to the 2012 Tamil-language coming-of-age comedy-drama film of the same name directed by S. Shankar, starring Vijay, Jiiva, and Srikanth.[1] Produced by Gemini Film Circuit, the film as an adaptation of Rajkumar Hirani's 3 Idiots (2009).[2][3] The soundtrack to the film, features six tracks composed by Harris Jayaraj and lyrics written by Pa. Vijay, Viveka, Na. Muthukumar and Madhan Karky. The film's soundtrack was launched on 23 December 2011 through the company's subsidiary Gemini Audio. For the Telugu-dubbed version, Snehitudu, the album features six tracks written by Sirivennela Sitaramasastri, Vanamali, Ramajogayya Sastry. The soundtrack was also released on 19 January 2012.
Harris Jayaraj and Yuvan Shankar Raja were initially approached to compose the film's music,[4] while Shankar chose the former, whom he had worked in Anniyan (2005). This film also marks Jayaraj's first collaboration with Vijay.[5] Albeit being a remake, Jayaraj and Shankar did not want to reuse any tracks from the original film,[6] and had composed six tunes in the process intended to fulfill fan's expectations.[7][8] Karky penned two songs for the film "Asku Laska" and "Enthan Kan Munne", the former is his 25th song as a lyricist.[9] To experiment with the lyrics, he penned the first stanza in more than 16 different languages, expressing the word 'love'.[10][11] The track "Heartile Battery" penned by Na. Muthukumar is a folk song set in Shuddha Dhanyasi raga. The film's teaser featured the song "En Frienda Pola" which received appreciation from audiences.[12] The song is a montage number, which is based on friendship and the track also featured couple of English lyrics penned by Viveka, after the internet phenomenon of "Why This Kolaveri Di".[13]
The soundtrack album was released on 23 December 2011.[14] The release coincided with the Harris: On The Edge concert tour held at the Hindusthan College of Arts and Science in Coimbatore.[15] Preceded by the cast and crew and other celebrities, the event was attended by around 19,000 fans.[16] The soundtrack to Snehithudu was launched at another event on 20 January 2012 in Hyderabad. It saw the attendance of the cast and crew, along with Ram Charan Teja and Dil Raju (the film's distributor). Rajkumar Hirani, Vidhu Vinod Chopra and Sharman Joshi, who were part of the original film 3 Idiots, were also present at the event.[17][18]
IndiaGlitz.com described at as a "mesmerizing" music album.[19] Behindwoods.com labelled it a "winner all the way", with Jayaraj's successful streak continued with this film.[20] Vipin Nair of Music Aloud called it as a "commendable job" from the composer.[21] On the contrary, Pavithra Srinivasan from Rediff said that Harris Jayaraj had "obviously taken the safe route, sticking to his usual template for most of the songs in this album".[22]
Gaana is your gateway to the best and latest in music, offering over 30 million songs across diverse languages including Hindi, English, Bollywood, and regional tracks. Stream your favourite Hindi songs, Bollywood music, English MP3 songs, radio, podcast and regional music online or download songs to enjoy anytime, anywhere!
In a conversation with Baradwaj Rangan, director Vetri Maaran speaks about why RDM's Kavalthurai Ungal Nanban worked for him. And, director RDM throws some light on how he wrote the film and came up with the narrative. Excerpts.
Mime Gopi's character did not seem like a traditional villain. I felt that his character wasn't standing up for his personal ego but for policemen in general. Did you keep this in mind while writing the script?
RDM: Yes. When I wrote the Inspector's character, I wanted to have the detailing of a typical Inspector we see in police stations. There is a certain way they treat the public and he dominates his police station as well. I wanted to intentionally showcase that.
Did you feel like this is almost like a slight counterpart for Visaranai? Visaranai was about corruption in the system and how through the characters, you get into a larger perspective. Here, it is a minor perspective. Did you feel it while watching the movie?
Vetri Maaran: With Visaranai, the whole film is about responding to a story that happens outside the film. Here, the characters themselves experience the story and we are watching that. Technically, this is the difference. Like you said, in Kavalthurai Ungal Nanban, it is about one person representing the corrupt system, but in Visaranai it was about the entire system being corrupt. This puts the ball into the individual's court. I also feel that the gap between the police and the people is increasing. At some point, the police have let it get wider and wider. I think more such films are coming up with a concern to bridge this gap.
RDM: It is based on many true events. Different events in the story are related to different people. When I got the plot and decided to narrate it from a common man's point of view, many people came in and told me the different experiences that they've had. As groundwork, we spoke to an Inspector and an advocate. So, when there is so much anger, ego and domination in play, I felt this script would work. The screenplay took around eight to nine months to complete.
RDM: It was from personal experience. A policeman once used a very abusive word when I had not committed a big mistake. That really hit me, and it took me almost a week to come out of it. Later, whenever I drove past a policeman, I would get very angry. This kept building up in me. In fact, even while watching Visaranai, I could connect a lot with it.
RDM: I wanted to portray their relationship in the first 20 minutes of the film. The song was there to establish the husband-wife intimacy, because it connects at a critical point towards the end of the film.
Vetri Maaran: When we are doing our first film, we are not very sure, and we are conditioned to think in a certain way, based on the films we have watched while growing up and the films that we have worked on earlier. I think that with the advent of direct OTT films, this thought will die away, because we are wasting time and money. The song can be in the background as well and a space without theatrical compulsions can be created. When this film was made two years ago, all this seemed relevant. Today, after OTTs have opened up and post the pandemic, I don't think many people think of songs. In my opinion, there is no need for songs to portray intimacy. And, it also comes with practice and the confidence you have when writing your script.
b37509886e