Sunday, November 15, 1998

AT THE THEATRES

PREETHISOD THAPPA? (Kannada)
Reviewer: Srikanth Srinivasa

With Preethisod Thappa?, Ravichandran has proved once again that if you cannot create a new trend, you could always join the bandwagon of 'creating` remakes.

All his films are known for rich production values, be it Yaare Neenu Cheluve, Mangalyam Thanthunanena, or this one. However, they all have one common feature - plush sets, lavish song and dance picturisation, great cinematography and glamorous heroines.

The story is nothing new. In a big family of three brothers and a sister Bhavani (Vinaya Prasad), a feud arises due to the runaway marriage of the sister. The brothers bay for their brother-in- law`s blood. Now, it is the turn of youngsters, twenty years later, to indulge in the same 'crime`. Bhavani`s daughter Chandana (Shilpa Shetty) falls in love with Raja (Ravichandran) (Bhavani`s nephew) and the usual feud arises.

The rest is predictable.

Lakshmi shines throughout. Ravichandran is insipid. The Tulu-speaking Shilpa Shetty, the latest addition to the list of imported heroines from Bollywood, is seen in bold outfits but Ravi fails to give her a new look. Doddanna, Lokesh, Srinivasa Murthy, Ramakrishna and Umashri lend good support as members of a large, joint family. Prakash Rai and Vinaya Prasad have been wasted.

Hamsalekha seems to be on the path of recovery. His two songs Sone sone.. and Chori aagadhe nanna dil..are worth listening to. Once again, Seetharam, the man behind the camera, shows his kai chalaka (handiwork) especially in song picturisations in Switzerland.

If you have not seen Ninne Pelladutha, you are bound to enjoy watching this film. Also maybe because Shilpa Shetty is making her debut in Kannada films.

NO 1 (Kannada)
Reviewer: Srikanth Srinivasa

While the title itself is intriguing, director K V Raju seems to have gone bonkers over the picturisation of the film. One fails to understand the rationale behind the title.

Vijayalakshmi is a novelist or is she a heroine (as the promos suggest), who has written on the life of a business tycoon which is the backgrounder for this movie. The tycoon who gets offended by the contents of the novel goes all out to kill the novelist. Debutant Harsha Durbar, also a psychopath (one should assume) takes all pains to satisfy his sexual urge by 'exploiting` them and later killing them. One such partner, girl friend Mandara alias Marina Tara takes all the pressure of his friendship literally lying down. When Vijayalakshmi`s effort to prevent the atrocities on Mandara fails, she is framed for the murder of Mandara.

Meanwhile, there is a tourist guide, Ramkumar, who is in awe of Vijayalakshmi. They fall in love with each other after their very first meeting. There is also a hot and sexy police officer (Bhavana). The story does not run on what can be called as predictable lines. The second half holds the viewers` interest though. The film has its own twists and turns. Camera work is excellent, but unpredictable. Dialogues are distasteful. The film is certainly not for family viewing.

Ramkumar seems to be the lone survivor among the heroes in Kannada filmdom today. Vijayalakshmi is OK. Harsha Durbar and Bhavana steal the thunder. Bhavana is the saving grace of the film. Saadhu Kokila`s musical number Belli chukki is good. Background music is too loud and out of sync.

KANNEDHIREY THONDRINAL (Tamil)
Reviewer: Mahalakshmi Subrahmanian

'Friendship is stronger and dearer to the heart than love`, this is what Kannedhirey Thondrinal is all about.

A new student, Vasanth, comes to the college in a Cielo car and is ragged by his seniors. Thus begins the enemity between the seniors and the junior. But after he rescues a senior Shankar, the saga of their friendship begins.

Vasanth, however, is not allowed into Shankar`s house by his mother. Though hurt, Vasanth does not allow this incident to come in the way of their friendship.

Vasanth, who meets a girl at the railway station, falls in love with her. When he spots her in his city, he begins to chase her. But she gives him a mouthful and he gets arrested for eve-teasing.

Now it is the heroine`s turn to think of the hero. But the irony is that the closer she tries to get to the hero, he gets farther away from her. Why does he ignore her? The reason for this is explained through a flashback.

Prashanth as Vasanth has come up with a very good performance. After Jeans, Prashanth has begun to essay more mature roles and looks at ease in such roles. Karan as Shankar lends him able support. Simran, the heroine looks dignified and dances gracefully. Debutant director Ravichandran has effectively captured the importance of friendship. Of the songs set to the tune of Deva, three songs - Chanda O Chanda; Kaaneve Kalayadhe and Eshwara unnal Eshwara sung by Udit Narayan stay in the mind.

The movie is worth watching for the climax. Chinni Jayanth, the comedian, steals the show with his angry outburst in the climax. Vivek, Ramji, Sri Vidhya and others complete the picture.

PELLI KANUKA (Telugu)
Reviewer: P Rakesh

Yet another America vs Amalapuram cliche, but this one tries to portray the travails of a village belle caught in the mire of a glitzy lifestyle which is gorged with hypocrisy. While Dr Bhanumathi Ramakrishna makes a come back, Lakshmi and Veeren Chowdhary make their debut in Pelli Kanuka directed by Kodi Ramakrishna.

On her visit to Amalapuram, Savithramma (Bhanumathi) a rich lady from Delhi, is taken aback by the gentility of the village head`s daughter Ganga (Lakshmi). She wants Ganga to marry her grandson Chintu (Veeren Chowdhary) who is studying in America for which Ganga agrees provided he suits her conditions. Savithramma sends her adopted son Sagar (Jagapathi Babu) alongwith Chintu to Amalapuram but Ganga who desires her would- be-husband to be the epitome of all goodness finds them in the down- to-earth Sagar.

But as per the wishes of the elders she decides to marry Chintu. After getting engaged she comes to Delhi alongwith her aunt just to feel free-and-easy with the new family. But all her dreams are shattered as she discovers Chintu`s darker side. Once Sagar rescues her from being molested by Chintu and she begins to love him. But Sagar sees her only as a friend, so he brings her back to the village. Meanwhile, Chintu babbles out a story to Ganga`s parents about her affair with Sagar. The rest of the story follows on predictable lines. The effective synchronisation of lyrics and the musical score makes Pelli Kanuka a good treat. On the whole, a family entertainer.

PARDESI BABU (Hindi)
Reviewer: K Kavitha

OK. So, we know Govinda wears his naivete like a badge of honour. He revels in playing the dehati with a bobbing choti and his fans swear by his dal-chawal brand of earthy humour. But after a point, the strain of all that langoti tugging and thigh-slapping starts showing. Like it does in Pardesi Babu. This time, he has two bird- brained bimbettes for company. And with their antics, they make the quiet, peaceful folks at Darjeeling run for cover.

A down-on-luck dude called Raju (Govinda) comes to murky Mumbai. Apart from his shining halo (which makes him call thugs 'chorji,` 'dakuji!`) he has little else. So does he try to earn a living? No, his righteous soul will not let him do anything faintly suspicious. With lots of time to spare, he concentrates on becoming the 'baby blue eyes` of the basti. Mollycoddled by everyone - from maids to matajis - this baa lamb gets a propah fright one night when he finds a leggy, giggly girl on his bed. This squealing siren, Chinni (Shilpa Shetty) has run away from her shaadi mandap. After donating her diamond earrings and ruby necklaces to the friendly neighbourhood thief, she curls up in Raju`s room. And promptly falls in love with him. But her Papa doesn`t share these sentiments. So he fakes a heart attack (yawn, yawn!) and dotty comes squealing back with Raju in hot pursuit. Papa then reduces Raju to pulp with able support from his sleazy general manager (Mohnish Behl). To redeem lost honour, Raju must earn a crore in a year.

After some corny coincidences, Raju turns tea tycoon. So now you have to listen to lectures of how tea is grown, picked and packed. Between all this picking and packing, there`s some singin` and dancin` with the blushing and bumbling Karuna (Raveena Tandon). Incidentally, Karunaji (as Raju calls her) is afflicted with a strange illness. She keeps tripping and falling into the arms of all and sundry. Raju`s arms are sturdy all right, but Chinni`s got sharp talons, remember? No prizes for guessing the outcome of this desi WWF bout!

Govinda in pink pants is not a very uplifting sight. But what his wardrobe can`t do, Shilpa`s does. Draped in designer wear (even when she`s being operated for appendicitis!) she makes up for even the straggly, rumpled Raveena. And there`s another strange contest going on between the girls. Every time Shilpa squeaks, Raveena stammers. If you were Govinda, you`d dump them both and head for the hills! The only saving grace in this Mad Hatter`s party is some soothing, soft music by Anand Raaj Anand.

MEHENDI (Hindi)
Reviewer: Mukhtar Anjoom

After fun time with soft, romantic movies this year, it`s time to get down to the 'business` of marriage. This no-nonsense film doesn`t wait with bated breath for the outcome of maudlin romance; it simply kicks off with mehndi and then goes on to show you what happens when plans go haywire well after the phere.

Pooja (Rani Mukherjee), a lawyer, is married into a greedy family. She has for company a loathsome mother-in-law (Himani Shivpuri), nagging sisters-in-law and of course an apathetic husband Niranjan (Faraaz Khan).

When Niranjan is badly in need of cash to buy a factory, his stingy dad advises him to use the 'pail` (Pooja) to draw water (cash) from the well (Pooja`s family).

But the greedy household makes a fundamental mistake: before marriage they assume that Pooja, coming from a supposedly wealthy Diwan family, would bring loads of currency and cartloads of gifts. It doesn`t work out that way as Pooja`s father has been rendered bankrupt.

Pooja`s in-laws begin to harass her. Cash-starved Niranjan attempts to unwind at a kotha. A dancer there is murdered and the blame is heaped on Niranjan.

A photographer (Shahbaaz Khan) takes the all-important snap which can prove Niranjan innocent. He strikes a deal with Pooja`s in-laws to bail out Niranjan. And the deal is a night with Pooja. The villainous family agrees and Pooja only wants to save her husband.

The ramifications are horrifying. Though the photographer turns out to be a fairly decent chap, nobody believes Pooja. She is vilified and chased out. The family is all set to get Niranjan married again, if all goes well. But then, Pooja has vowed to spoil the party.

Aati Kya Khandala girl Rani has come up with a brilliant and controlled performance. Her role will ensure that there is life for her beyond Khandala! Faraaz as the indifferent husband is quite good, while Himani Shivpuri is superb. Rani Malik`s lyrics riding on Babul`s tunes are alluring.

FIRE (English)
Reviewer: Pradeep Sebastian

Hot damn. Haven`t we come a long way. Even before we`ve got to see a man and a woman kiss properly in our movies, we have here two women kissing passionately. Wonderful. Fire by the Canadian-Indian, Deepa Mehta, is an erotic, richly textured, beautifully lit, stunningly photographed film with a luminous performance by Shabana Azmi at its centre.

''Someone`s getting married`` says Nandita Das to her sister in law, Shabana Azmi. From the terrace the two women sceptically watch the marriage celebrations down the street. 'Yes`, says Shabana, wanly, 'once again someone is getting married`. For years now Shabana`s husband (Kulbushan Kharbanda) has turned ascetic and the two have lived like brother and sister. Nandita, just married, finds her husband (Javed Aktar) has a mistress. Lonely, neglected, the two women, with only an old, invalid woman and a nosy servant for company (Ranjit Chowdury) become lovers.

Mehta`s direction is near flawless and always absorbing. And we haven`t seen our streets, the interior of our houses, the faces of our people, and the light that bathes us all the time photographed as evocatively and gracefully as it has been here. The characterisation alone is a little wanting: even though the story gives every character almost equal time to develop, only Shabana`s character is richly nuanced. There`s no denying that Javed Aktar is a bad actor. Kulbushan is limited by his role and Ranjit Chowdury is impressive as always. Nandita Das turns out to be a mediocre actress. Shabana proves what a natural she is. Nandita is also stuck in a mediocre role. We never learn her background - at times she seems naive, and not well educated, at other times she sounds sophisticated, college bred, mouthing lines like: 'duty is an overrated concept`. Mehta seems to have played it safe in having these two women turn to each other for love and companionship not because they find men inadequate but because they have been so badly neglected by their husbands. Instead of choosing a more overt, even strident feminist portrayal of lesbianism, Deepa Mehta chose the more conventional one so that traditional Indian women could have a point of identification, could empathise with. And to a large extent it works: the men in the audience were not shocked when the women made love but were sympathetic, even thrilled. Instead they found the behaviour of the two men ridiculous and actually heckled them.

Deepa Mehta`s Fire along with the earlier English August, Hyderabad Blues and now Leslie Carvalho`s The Outhouse proves once and for all that the future of good Indian cinema is going to be Indian English films. The audience I saw Fire with connected with the characters and situations in the film in a way I have never seen them do with our commercial movies. English August and Hyderabad Blues was at least a little off-mainstream, with dislocated yuppie urban characters who only a small audience could relate to - but Fire has a traditional middle class joint family which a wider audience will identify with. And the thing about Indian English movies is that they are not arty and boring but take their cue from Hollywood: striking a shrewd balance between art and entertainment. Indian English movies have arrived, more power to them!

LOST IN SPACE (English)
Reviewer: Pradeep Sebastian

State of the art special effects, an impressive production design and a concern for environmental issues makes this sci-fi space adventure just about watchable. They got the hardware right and goofed on the oldest software there is: a good script. In the future, the Earth cannot sustain life anymore because its resources have been depleted. The Robinson family William Hurt, Mimi Rogers and their three children - are sent on a mission to Jupiter to see if it can be colonised. But on board is the evil Gary Oldman who plans to sabotage the mission. Directed by Stephen Hopkins, this is the first epic space adventure since Stars Wars - the other more recent sci- fi movies like Dark City, The Fifth Element and Twelve Monkeys have been hybrid, metaphysical science fiction movies set on Earth. Lost In Space like the Star Trek series takes place in space. Some good effects but most of it wasted in a plodding story with terrible dialogue. Hurt and Mimi Rogers seem embarrassed to be in the movie but good old Oldman relishes his villainy. Strictly for fans of the genre only.

SCREENSCAPE

Prem Aggan: The Khans' trial by fire

Feroz Khan has been making films for the last 28 years. On the eve of the
release of 'Prem Aggan,` his son`s ambitious launch vehicle, he shares some
reflective moments with PIALI BANERJEE

IT is the rubbery resilience of a film-maker`s life that makes it worth chronicling. For instance when I met Feroz Khan on the eve of the release of Prem Aggan, his son`s ambitious launch vehicle, he admitted wryly, ''Yeah, I`m sure Fardeen is apprehensive about the release, but he isn`t half as jittery as I am!`` And yet the next moment, his eyes assumed an excitedly confident glitter as he talked about the subject of his next film which he plans to launch in December this year and release in 2000!

How difficult does this roller coaster ride along emotions, registering dangerous swings either way, get? Feroz throws back his head and laughs in reply. ''One would expect the intensity to blunt with time, but it doesn`t. After all I have been making films for the last 28 years and acting in them from much before that. So, theoritically I should have my emotions under control. But I don`t. I still get as keyed up today as I would have been in my first film. It`s dicey. You get cold feet with one film, warm it up with the next. It just goes on...``

And then Prem Aggan rated that much higher in emotional involvement, it being an effort of a proud father to fire off the career of a eager son. ''Yeah, this was also a first of sorts for me. It was my first love story, in the sense of it being all about romance and young love,`` he nods. ''It had to be. A newcomer fits best only in a young romance simply because he isn`t equipped to handle anything heavier in his first film. The film does touch a few serious issues like sex before marriage and the interplay between our morality and our culture, but I guess these issues are relevant to any love story.``

He refuses to believe, however, that as a director, he is anything other than a brisk professional on the sets. ''Okay, so the first shot - when the clap was sounded for the first time before Fardeen`s face - brought a whole flood of emotions surging. I realised that this moment was his for keeps for a lifetime now. But that was it. Once this moment passed, there was no question of being emotional or subjective on the sets,`` he shrugs.

In fact, getting the goods out of an entire cast of freshers - all the five main characters in Prem Aggan are newcomers - was in itself a tall order. For there was this business of drawing them out of their shells and helping them to overcome their inhibitions before they were ready to face the camera. ''They all had formal training in acting, but were raw and unexposed,`` he explains. ''Fardeen, Meghna, Sanjay... Meghna had not even seen any films or television earlier. Directing them was like treading unknown territory. I played it by the ear, acted the lion tamer at times and fired them, got friendly at times or even completely withdrew at times so that they couldn`t even feel my presence on the sets.``

So how does an actor acquire the characteristics of a director over the years? Or is it a natural succession of jobs? ''Well... I`m sure every actor has a penchant for direction simply by seeing that the satisfaction of making a film is far more than acting in it. But one can actually make the transition only if one has absolute conviction in oneself,`` he replies. ''Or else all actors would be directors today.``

Feroz produces his films himself simply because it makes life that much easier - saving on scuffles with producers. As producer-director, of course, the director in him rages uppermost and always wins any argument. ''lf something needs to be done for a film, it has to be done. No argument. That`s how I keep Feroz the producer under control,`` grins Feroz, the director.

The problem is that Feroz the editor cannot be controlled quite so easily. ''The director and editor in me have tremendous scuffles,`` he says. ''The director wants to mount and project scenes lavishly. And hold on to dramatic expressions and moments that much longer, for effect. While the editor wants space, more space. I find this the most interesting part of film-making - the sparring and finally, arriving at a decision.``

Pausing awhile to sip his lemon tea, he lapses into a reflective silence. A silence in which it is obvious that he`s gathering random thoughts, not to be broken by another question. ''And then when I`m in the midst of all the dilemma, the thought often strikes me that how do directors today manage to take on five films at a time?`` he says at last. ''I find handling even one film such an armful! I hear that some of them even direct via the telephone through assistants! And how do actors do 10 films at a time? Artistes here actually run up amazing career graphs like 200 films in 15 years! This is one point that I`m trying to put into Fardeen`s head - that he doesn`t have to hurry and kill himself through over exposure. He doesn`t have a security problem, so he doesn`t need to make a fast buck. He should just 'Go Slow!``

True to his father`s advice, Fardeen Khan has not taken up a single of the many offers that he has received so far. ''He will be doing a few outside films and a few films of mine. But never more than two at a time. With a maximum release rate of three films in two years,`` asserts his father.

Doesn`t all the rush and insecurity stem naturally from too much competition - something which didn`t plague the industry in his own youthful days of acting? ''Oh yes, I don`t deny that,`` he laughs. ''In my time, any good looking guy with a little bit of talent would be accepted. Today you get such guys a dime a dozen and no one gives them a second look!``

As a director himself, Feroz claims that he has always gone slow. In 28 years of film-making, Prem Aggan is his seventh film. This time the gap has been a little more almost six years. So I got just a little nervous, getting behind the camera on the first day after such a long time,`` he reveals. But, somehow, after the first shot, it all comes flooding back like second nature.``

''As for the film industry,`` he continues, taking up his earlier train of thought, ''the number of films produced in a year has already come down to about 120 and trends say that it will be down to 70 or 80 in a couple of years. Which is a good sign. The less the number, the less the chance of also-rans being made in dozens...``

One sees 10 seconds of Feroz Khan the actor in Prem Aggan. In two close-ups. Not more. ''Yeah,`` he sighs. ''I guess the director in me has finally taken over. I haven`t closed all doors but I don`t feel that strong urge to face the camera any more. And now with Fardeen here, I`d rather make films.``

For whether Prem Aggan is a hit or not, one thing is certain within the Khan family. The father-son working relationship is a hit. ''It helped, of course, because we had always been friends,`` says Feroz. ''Otherwise I don`t think it is even possible for a father to direct his son. Such instances, in the world, can be counted on one`s fingers. But the kind of growth our relationship has seen through Prem Aggan has been phenomenal. Now he knows all about the trials and tribulations of film-making something which sums up my life. So we can talk more, share more, perhaps even feel more.``

Wishful singing

No one can deny that she has sung some great songs. But must Lata Mangeshkar,
close to 70 years now, insist on putting on the coy voice of a 17-year-old?
And isn`t it time she looked back on her eventful career and
told us about its ups and downs?
S SUCHITRA LATA on India`s most durable playback singer.

A COUPLE of months ago, TV shows were screaming out, ''For the first time Lata Mangeshkar sings for A R Rehman... Dil Se`` and the song that played in the background was Jiya jale jaan jale. The good thing about this song is that Lata sounds just as she did in the Koel kooke song in Hero. The sad and undeniable part is that she has sounded old and off-key for almost 20 years now.

Lata turned 69 this September. Over the years, she has been described as the nightingale of Indian films and the melody queen of India. Her story is romantic: a young girl, left to fend for herself and her family, turned her voice into gold. She became one of the biggest names in Mumbai`s world of playback singing. She has remained in the business long after her contemporaries have retired.

No one can deny that her mature, filled-out voice in songs like Tera jaana dil ke armaanon ko or Aap ki nazaron ne samjha is a true treat. In one of her early songs, Aayi barkha bahaar, layi boondan puhar, her voice is squeaky fresh. It is light and fluid, still reminiscent of childish shrillness. This was a new voice at the time, new as in non-nasal and free of the earthiness that characterised earlier singers. Behind her were very mature, earthy voices like Shamshad Begum, Noorjehan and Rajkumari, whose strong nasal accents were in vogue. Lata broke that trend some 50 years ago and turned listeners of film music into what they remain to this day. As far as female voices are concerned, their ears are all tuned into higher pitched, thin, technically correct voices.

A nasal-toned Salma Agha did not last long, nor did the flat- voiced Nazia Hassan. Vani Jayaram sang one hit song and returned quietly to Madras. Usha Uthup was an outcast with her almost deep manly voice which sang true. She was only used for the bad girl routine. But if the bad girl had a good streak and was to turn against the villain sometime after the interval, Asha Bhonsle sang for her. But the goody goody voice of Lata was for prayers Pyas liye nagma hamara ye tarase and Allah tero naam. It was the voice of the housewifely, devoted woman who waited for her husband and doted on him, absent or present: Tumhi meri mandir tumhi mere puja, Tum gagan ki chandrama, Piya bina, Tumhi mere meet ho, Main tulsi teri aangan ki. It could also be the voice of the good girl pining with unrequited love: Megha chaye aadhi raat, O Basanti, etc.

While she sang all these ''good`` image songs she became bigger and bigger and even her legendary status could not protect her from the scandal attached to all legends. As the years rolled by, younger, talented singers were heard complaining of her proprietary ways, of being threatened with dire consequences if they did not quit singing. Asha Bhonsle has never been heard speaking lovingly of her Didi, although she might have, as a dutiful sister, defended her against accusations that she had monopolised the Mumbai music industry. There are few close friends who have fond memories of bygone days with the younger Lata and none today who will talk warmly about the legend. There were stories of how she refused to sing for a music director which gave Suman Kalyanpur a chance to fame. Of how she drew up conditions: she would sing provided Hridaynath Mangeshkar, her brother, got to make the music. There are more stories, but none to do with her presence as a human being, only a professional, a woman with a career, displaying her insecurities as she aged.

Be it as it may, many who swear by Lata`s voice can no longer bear to listen to her denigrate herself by insisting on singing for schoolgirl-age heroines. In Dil Se, it is an old voice singing a 'young` song.

Even in her younger days Lata`s voice was largely devoid of expression: it was a technically perfect voice - it did not go off pitch, stray into unwanted notes and was pleasant in timbre. But it never emoted like Asha`s or Rajkumari`s. Kishore Kumar sounded like many different people, and when I got to see the movies from which these songs came, I attributed his voice, in turn, to Rajesh Khanna, Dharmendra, Randhir Kapoor and Amitabh Bachchan. Such was his expression.

Asha too could be pious, wanton, college-girlish and elderly whenever the role demanded it. But Lata`s voice was always hers, it was as though she sang and the song was apart, uninvolved with the character who was supposed to be mouthing the words. This was unimaginative and restricting, yet she held her own and still does. Did her name get big enough to satisfy the audience?

Lata has never treated criticism as an artiste`s inevitable reward. She has either been cold and grim or dismissive, but I wonder if deep within her she has ever asked herself when she should retire though it might be too late to do so gracefully. Or is it perhaps the public pressure that keeps her where she is? I really wish she would once be accessible and open. She is so guarded and correct that her interviews would put a politician to shame.

At least now Lata must talk about her eventful career. And, if she still wants to sing, she must choose songs which do not rob her age of its dignity.

Music is his muse

After 'Satya` music director SANDEEP CHOWTA has signed a slew of films.
He will soon be flying to Paris to put together an international album with pianist
Richard Clayderman, writes SRIKANTH SRINIVASA

HIS father, D K Chowta, (of Sun Valley Club fame) wanted him to become an auditor. Although the family had a flourishing export business in pharmaceutical products in Bangalore, he did not want his son to get anything on a platter. As for the son, he nursed early ambitions of taking over the reins of the business empire from his father. But when daddy dear put him through the office grind, the son found himself grappling with an identity crisis. That is when he began playing the guitar which he had bought with money saved from his salary. And that is when he realised that music was his calling.

Eventually he did carve a niche for himself in the world of music, but not before he had walked out of the house following differences with his father. The 'he` in question is music`s latest whizkid Sandeep Chowta who declares, ''I take pride in the fact that I am a self-taught musician.``

Thirty-year-old Sandeep Chowta (''please get my surname right!``) was in Bangalore recently to watch the picturisation of his song compositions for the Kannada film Shanti Shanti Shanti. Thanks to Chowta, the Kannada music industry can take pride in that fact that Shanti Shanti Shanti will be the first Kannada film to have adopted complete digital sound in the background music and song recording.

Recalling his early days of struggle, Sandeep says he was not even allowed to buy a musical instrument, let alone play it! When he did buy a guitar, he decided to make Pat Metheny, a guitarist, his 'guru.` After roughing it out in the office, he would come home and unwind with Metheny`s tapes.

He got his first break as part of a restaurant band in 1988. ''Only then did I realise that music is collective activity. I learnt to play with other musicians and give them their space. The experience taught me many valuable lessons.`` Lessons which spurred him to start his own band, Pulse, comprising five members. The band (now defunct) brought out the video album Children of the World which won the Billboard Award in 1994, besides bagging the Diva Award for outstanding debut album.

Sandeep now headed for Mumbai with Rs.12,000 in his pocket. Actor Sunil Shetty had advised him to take his music to Mumbai. ''I knew for sure that Pulse was not happening. My music needed a much bigger market. I wanted to prove to myself that I could be a success.``

The demo cassette that Sandeep took along with him drew appreciation from film-makers and helped him bag his first film Barsaat for which he was asked to score the background music. Sandeep says, ''Soon there was talk of a whizkid doing the rounds in town,`` and producers queued up to sign him. He did the background music for six reels of Barsaat. But he was peeved because the film was not progressing according to his expectations. There were tensions in the film unit. Differences between the production unit and the director also dampened Sandeep`s enthusiasm. He thought the film`s music was out of sync with the narration. And eventually he pulled out of the film. When Rajiv Rai launched his audio company Sandeep was approached to do video albums like Maya and Don`t Marry. But when Rai wound up business in Mumbai, Sandeep`s career almost came to a standstill. With Mukul Anand`s demise, the film Dus, for which he had been signed, was also shelved.

It was at this juncture that Sandeep met actor-producer Nagarjuna who liked his music ands asked director Krishna Vamshi to watch Chowta`s musical demos.

Nagarjuna`s Ninne Pelladatha created a record of sorts in the history of Telugu cinema thanks to the soulful rendering of Greekuveerudu and Poyindi Manasu. Sandeep also scored background music for the Sunil Shetty-starrer, Bhai. But it was Satya that propelled him into the limelight. Incidentally, Satya was the first background sound track album to be released in the country.

Sandeep has an enviable track record. He has completed recording for Shabnam Kapoor`s Purab ki Laila Paschim ka Chaila and Nagarjuna`s recently released Telugu film Chandralekha. He is curently working on the music for Ramgopal Verma`s Kaun and Premakatha. He has also announced his plans to launch another three-member band, 'Password` soon. He will be flying to Paris to put together an international album with pianist Richard Clayderman. Isn`t that enough to keep him busy? He doesn`t think so. He dreams of scoring background music for Hollywood films and says he has appointed an agent in Hollywood to handle his work.

As for those differences with his father, he says: ''My father always thought I would never make it big. He thought I would be dependent on him. But deep within I know he is happy and proud of me. He was right in his own way and I am right in mine.``