Mahdi Ahmed

VERBALLY AGREED

When Dark Rain Entertainment (DRE) honcho, Mohamed Ali Moger requested for a read of EMME MANZAREH (Just One Scene) just as soon as I updated my Facebook status on completion of the first write, I knew he had an ulterior motive. It was too obvious he wasn’t just planning on reading it and strain his eyes. So without asking any questions, I emailed him a copy immediately. But due to his health at that time, he was unable to read it. And while he was indulging himself with chicken soup and cold tablets, I started work on rewriting the screenplay and completed it a day ago. Even when I emailed a copy of the rewrite, Moger was still feeling unwell. So on his behalf, senior editor and cinematographer of DRE studio, Ali Shifau Chippe read the rewrite and gave it two thumbs up. He really liked the nonlinear narrative and especially loved the ending which took him by surprise.

Last night, I spoke with Moger over the phone and he has come to a decision, thus revealing his intention. He has verbally agreed to produce EMME MANZAREH and appointed director Ravee Farooq to helm it. This is going to be another addition to the series of production deals Ravee and I have with DRE. First one was MIKOE BAPPA BAEY BAEY (Come My Baby’s Father) or in short, MBBB. Once again Ravee’s production company, R Squared and mine, T for 2 Production will be associating with DRE. Principal photography has been tentatively scheduled for early February 2013. Chippe will be taking over cinematography.

Ravee and I have also agreed to produce with DRE the final installment of our two characters/ one location trilogy. We already have a cool title to it but will unveil it later. The plot will have two female characters at one location. Ravee and I produced the first installment, INGILI (Finger) independently with Hussain Munavvaru.

I’m yet to hear from Nadeem, Ravee and my niece on the feedback of EMME MANZAREH rewrite. I have also asked my writing partner, Ahmed Zareer to have a read. Hopefully on Sunday I’ll be getting all the feedbacks. Nadeem has already read the first half and thought it was splendid. I’m hoping he feels the same for the rest of the rewrite.

Last night I watched the edited scenes of DHILAKANI (Fire Sparks) since my last visit to the studio few weeks ago. Director Hussain Munavvaru was also present. After a bit of hiccups in few scenes when I last watched the rough edits, the creativity of director Munavvaru comes strong when the narrative demanded solidity and restraint. The entire cast turns on strong performances and yet again veteran actor Roanu Hassan Manik who was recently awarded with a honorary lifetime achievement shield for performing in theater and films, chews up all the scenes he appears. The man is a true legend. Another actor who shines in her role is Rashfa. Copee Issey remains consistent throughout the scenes I have seen so far. And Mohamed Manik also does an admirable job as a lovelorn politician.

Well, that’s all I have for this post. Until another update I say… what I have to say afterwards is in next line.

Cheers!

REWRITTEN

A day before the scheduled deadline, I have completed the rewrite of EMME MANZAREH (Just One Scene Manzareh) this evening. But that doesn’t mean it’s been wrapped up for good. Sometimes a rewrite gets rewritten several times. Screenplays are all about rewriting over and over again. The more it’s rewritten, the better and solid it gets. However, I will be clattering my keyboard, only if I get additional comments from Ahmed Nadeem, on whose short story the screenplay was based upon. I feel it’s my duty to remain faithful to his vision.

Soon after the completion, I emailed a copy to Nadeem, Dark Rain Entertainment (DRE) honcho, Mohamed Ali Moger and director Ravee Farooq. And there’s one more. I also emailed a copy to a niece of mine. She’s been a regular at commenting all of my indie screenplays. And she has this mysteriously remarkable way of looking in to minor details within my screenplays.

The changes I brought to the rewrite were many. First there was the inclusion of psychedelic visuals and extended some scenes to give a psychedelic mood. The major addition was the music like montage for the progression and eventual deterioration of the relationship between the three central characters which I first outlined yesterday. But today when I started writing that sequence, I felt something was missing. It didn’t bridge. Then I rewrote the compiled montage as full scenes and bingo, they looked more solid, supported the development of the characters and I was able to empathize more with them.

I even incorporated the three songs of Gianscore that Nadeem mailed me yesterday. Using them in the actual film will be up to the producer but the film will have psychedelic songs even if those songs were replaced in case a deal didn’t work out with the band.

That’s all about EMME MANZAREH. Shifting to other news, I met with DHILAKANI (Fire Sparks) editor, Ali Shifau Chippe last night at L’Aquila. He said he’d be completing the editing of the already shot scenes by today since he has to leave to India tomorrow to be with his father who has been hospitalized. My prayers are with his father.

I haven’t been able to watch any of the editing done since my last visit to the studio. Director Hussain Munavvaru is out of town, in Maafushi to shoot another installment to his beloved franchise, KUDAFOOLHU. He will return tomorrow morning including Ravee who I think directed the whole episode.

I’m also eagerly waiting for Ravee to return. He will then sit with composer Mohamed Ikram to finalize the score for INGILI (Finger). I had lunch with the Ikram this afternoon. He confirmed that he will only need just two days with Ravee. Guess that’s all I have for this post.

Cheers!

A PSYCHEDELIC REWRITE

Two nights ago, after discussing the draft screenplay of EMME MANZAREH (Just One Scene) with film reviewer and writer Ahmed Nadeem on whose short story it was based upon, I have started rewriting it today.

Like commented by him, I have rearranged couple of early scenes and removed all of the dialogues from them. They indeed look fantastic now. I have also extended some more scenes especially a scene that calls for quick cut psychedelic visuals that comes with psychedelic music and added some snorricam shots for three more scenes. Yes, changing this way has really added more meaning and much needed darkness to those scenes and the screenplay as a whole. To get inspired while writing the needed psychedelic visuals, I kept playing Help by Deep Purple and The End by The Doors. These two songs really chilled me and opened up my thinking cap making me easier to write. Says who only a joint gives hallucinations? Now I know those songs are called psychedelic for a reason.

Anyway, since this scene required a psychedelic soundtrack in the background, I wrote on using Deep Purple’s Help which was very fitting in every way. But I didn’t think this song could be added without a copyright approval. So I had to seek an alternative. I discussed the issue with Nadeem over the phone immediately. I suggested if he knew any local bands playing local psychedelic songs. He said he’d work on it and an hour later, he mailed me three songs written and performed by a local band called Gianscore. Their music was heavily influenced by The Doors. Their song ‘Veynekay’ which replaced Deep Purple’s Help, felt much more appropriate. And I’m going to use the other two songs for two other scenes. I have already noted these scenes in my new outline. Once pre-production starts, I’m going to suggest whoever is producing to negotiate with Gianscore on using their songs for the film. They were a revelation.

Other new changes brought were addition of a montage like short scenes on how the relationship with the three central characters developed. And this build-up comes inside another psychedelic song and I’m going to use one of the two remaining songs of Gianscore. That’s up to where I stopped the re-write for today and took a rest and decided to blog about the whole experience.

As I type this post, my excitement level keeps rising. The montage sequence I outlined looks flirty and connected by visuals from one scene to another. The screenplay is now looking more solid, dark and of course, psychedelic. Thanks to Nadeem for his constructive suggestions.

On other news, Dark Rain Entertainment (DRE) honcho, Mohamed Ali Moger is yet to recover from his flu and have a go at the draft screenplay. But now I want him to be reading the rewrite. That leaves me with keeping my fingers crossed for few more days. Just to give my fingers some rest, I type off this post for now.

Cheers!

COMMENTS AND CROSSED FINGERS

Last night at Petay’s Restaurant, I sat with Ahmed Nadeem to discuss his comments on the short film screenplay EMME MANZAREH which I wrote and was based on a short story he published of the same name on Haveeru online two years ago.

Though he had many comments, he really loved the screenplay especially the wickedest twist which was nonexistent from his original story. He too thought it was very twisted.

Most of his feedback was on the visual look, the mood and the style which I thought changing would enrich the screenplay thus making the film darker and adding more depth to the twisted ending. He even referred me a movie to watch to understand the kind of visual style he’s talking about. So before I start re-writing I’m going to watch this movie.

The other comment he made was on some of the dialogues used for the central character. He wanted to make it stronger. I agreed on changing some while I disagreed on changing them entirely. I felt the audience would get offended since using strong language in films is still considered a bit taboo. We need to come out of this shell slowly I thought.

He was very excited when I said soon after I updated my Facebook status that I completed writing the screenplay, Dark Rain Entertainment (DRE) honcho, Mohamed Ali Moger replied me requesting for a read. I have already mailed him a soft copy of the screenplay which he will read as soon as he recovers from the flu he’s having presently. It’s difficult to continue typing this post as my fingers have been crossed since his message.

I type off for now and will return with more updates, hopefully without crossed fingers.

Cheers!

EMME MANZAREH (JUST ONE SCENE) COMPLETED

Though the title suggests just one scene, the screenplay exceeds 27 times more. I have wrapped up writing short film EMME MANZAREH (Just One Scene) which was based on a short story written by film reviewer, Ahmed Nadeem. I have highlighted on this story in my last post. So I’m going to save my finger tips from getting blisters.

Funny how last night I only sat down to write just one scene but I ended up completing it. The magic which always happens when I’m near completion of a screenplay happened. I had the usual sudden exuberance to complete it. More ideas started to ooze out in to my outline. My heart rate was jumping up, down, left and right that it felt as if it might shoot out of my chest at any minute. So I was careful. But I was unable to stop writing. I wasn’t sure if it was my hand taking control over my mind or vice versa. I didn’t take a break. I missed Barcelona’s match against Celtic in the Champions League. I’m happy I did.

When I completed writing, it was late. My head was spinning and moreover my mind was feeling twisted over the climax. The whole ending was entirely changed from the original story. I’m so tempted to write about it but that would spoil the film. But I can assure that it’s going to be one of the wickedest twists I have ever written yet.

I have already mailed the story to Nadeem for his comments. I also mailed a copy to director Ravee Farooq, who I felt would be tempted to do whatever he wants after reading it. I can’t wait for their feedback which I think I would be getting sometime this evening. Until then I await.

Cheers!

UNMASKING THE EDITOR AND A REAL QUICKIE

Finally the editor of DHILAKANI (Fire Sparks) has been unmasked. He is neither Tobey Maguire nor Andrew Garfield. He isn’t even Christian Bale. He is none other than, drum rolls, Ali Shifau Chippe. He is the multi-talented senior editor of Dark Rain Entertainment. His other powers include directing, screenwriting and shooting, not with a gun but with a camera. His name was officially revealed in the official Facebook page of DHILAKANI a day ago. The link is given below.

https://www.facebook.com/dhilakani

This evening, I just saw an hour and twenty six minutes of editing. The pacing looks good. Overall the performances remain top-notch. Hussain Munavvaru’s solid direction wavered a little bit in few scenes but remains consistent. Editing looks great too.

Veteran actor Hassan Maniku (Roanu) steals the show in almost every emotional scene he appears. He plays a father who has lost his faith in the system. His scenes left me in complete astonishment. Yes, I was smiling too. This is a side I haven’t seen of him so far.

I want to write more on DHILAKANI but I’m afraid I might give away too much. So I change the subject.

I have started writing a short film screenplay titled EMME MANZAREH (Just One Scene) based on a short story of the same name written by Nadheem who is infamous in local filmdom for his controversial film reviews.

I came across this story when it was first published, I think two years ago on Haveeru Online. He always shares most of his writings for my comments before publishing. From the first read I fell in love with this story. Soon after I read it, I called him up and asked for his approval to write a screenplay based on it. He readily gave me the green light. I’m forever thankful for him for giving me this opportunity to write a screenplay on one of his short stories. All of his stories never fail to entertain. I hope to write more, if he decides to give me his blessings. I hope he does.

EMME MANZAREH cuts backs to a murder three times in different perspectives. It has a very non-linear narrative but can be easily followed. I thought of stretching it to feature length but I felt that the concept would loose the essence of Nadeem’s creativity. So I’m staying faithful to his story which is sweet when always shorter. I’m hoping for a duration of 45 minutes when made in to a short film.

Hopefully in couple of days I can wrap up this screenplay which is considered as a quickie. Don’t frown! Even writers can enjoy such. Once I’m done, I’m going to have Nadeem read it first. Once it’s finalized, I’m going to meet with couple of producers on producing. The entire production can be completed on a shoe string budget.

Until next update, I say cheers!

REMEMBERING 3 NOVEMBER

In the early hours of the morning of 3rd November 1988, peaceful sleep of unsuspecting citizens of Male’ were brought to an abrupt halt. I don’t remember that day like them waking up to the sound of gunshots. What woke me up were several loud bangs on the door of my room. From the frequency and the impact of the bangs, I felt something was amiss. I never used to get that kind of knocks in any mornings or any knocks any time of the day for that matter. It was the landlady. ‘Male’ is under attack by mercenaries!’ She said frantically and then hurriedly descended downstairs. I was petrified.

When I went downstairs, my landlady was busily making calls to whoever she can get any information about the situation. I tried to call my home but there was no connection. This made me more panicked. But I prayed for the safety of everyone at home. I was in Colombo and I was only seventeen.

As the day progressed, most of my friends studying in Colombo started to gather to the house I was staying. They too were worried for not hearing any news from their respective homes. News kept coming to us in different shapes and forms. We weren’t sure which one to believe. Most of that day, we stayed downstairs in the portico of the house. There was a certain hush and tension filled the air.

By late evening, we finally received confirmed reports that the mercenaries have fled in a ship and the situation in Male’ was under control. We felt so relieved but were still worried for not being able to contact home. While some of my friends did manage to call their loved ones at home, I still couldn’t. There were reports of many people got killed and some even taken as hostages when the mercenaries fled. Thoughts of anyone from my home could be amongst them kept disturbing me. I continued praying. I kept calling home but to no avail. For some odd reasons, I started tuning the radio in my room to the national radio station of Maldives which I used to receive very faintly. I was looking for any reliable news. But the transmission was dead. That night I went to sleep very scared. But I kept waking up in between and tuned on the radio. The signal remained static.

Early morning next day, upon waking up, first thing I did was switching on the radio as if my whole life depended on it. And I couldn’t be more right. This time I did hear the transmission. And above all, I was overjoyed to hear my mother’s voice reading an update of the aftermath of the attack. That meant enough for me. She worked there. I assumed that if something bad had happened to anyone at my home, she wouldn’t have been out at the station. And later that day, I managed to call home and learned everyone was safe.

In 2003, Ministry of Atolls Administration (MAA), where I worked back then, decided to compete in the Inter-office Teledrama Competition for a successive fifth time. This was a competition conducted by Television Maldives (TVM), the national TV channel and one and only TV channel during that time. I spearheaded all the previous 4 dramas MAA made and bagged several accolades including best drama thrice and managed to win a best director and a writing award for myself. In those 4 years, MAA collected a total of 12 awards. And in 2002, MAA’s drama, FANGI (THATCH) made a record of winning 6 out of 8 awarding categories.

When I started brainstorming on a concept for the 2003 competition, I wanted something challenging, something that hasn’t been staged by anyone in this competition in terms of scope and scale. I wanted something that would be looked upon for years to come, something that related to a historical event of the nation.

Yesterday marked 24 years to the above mentioned attack on Male’. It was made a national holiday since then and was named the Victory Day. Yesterday morning when I saw a rerun of the drama that I wrote and directed for MAA for the 2003 competition on TVM, I felt very proud. It was everything I had hoped for. The drama was aptly titled, 3 NOVEMBER.

This drama was a different take of the actual event. The whole concept was how I experienced that day being miles away from the real situation. The tension and panic that day created amongst my friends and me. The drama was shown through the eyes of a young man who was banished to an island after being busted for using drugs. The drama unfolds on how people of that island reacted and the chaos created when they first heard the news of the attack. The narrative then follows in parallel to the chronological order of the real events that took place from the first attack to the fleeing of the mercenaries in a ship with hostages to their eventual surrender days later.

This concept really hit me when I watched again, after a very long time, a video my brother-in-law shot that day with a camcorder. This video tape was my raison de’etre to write 3 NOVEMBER. I borrowed several ideas and materials from it including the audio of a news clip of Voice of America my folks at home were listening to. I even recreated a scene he shot of the neighbors frantically queuing up to buy goods in case things got worse. This video was also the inspiration for the costume design for the drama.

After outlining my teleplay, I did a comprehensive research on the whole event and its aftermath by gathering information from National Language and Historical Research Center (NLHRC). They had a full report published on it.

But it was late Mohamed Saleem (aka Umbe) who experienced that day first-hand, added gist to my concept. He contributed a lot to my outline and especially in the development of his character as a guardian to the protagonist who was very patriotic and raised the spirit of the apprehensive citizens of the island. With him I arranged and re-arranged the outline until it was both compelling and plausible.

When I began writing, my whole focus went in to this massive scene I wanted to stage when the news first broke out as panicky citizens of the island kept gathering in front of the island office to find out what was really happening. I wanted to populate this scene with extras as much as I could. And in other follow up scenes, like the protagonist listening to live news of Voice of America and the panic stricken queue at a shop, I kept adding extras as much as I could. But I kept asking myself if it was possible to physically shoot these scenes just like the way I had written.

So immediately after completing the first draft, I met with my production team from the MAA and informed them that I wanted to shoot the drama in an island where I should be able to get a minimum of 50 extras readily available at any given time. They right away started hunting for the right island.

I also storyboarded the whole gathering scene and met Lathy, the head of the technical team provided by TVM who was also the cinematographer with whom I collaborated in my previous two successive dramas, VAAREY (RAIN) and FANGI. He was so excited about my teleplay, he decided to make a Glidecam all by himself in time the production starts. He assembled an awesomely fully functioning one.

We started principal photography in Thaa Atoll Hirilandhoo. But upon going to this island, I first met with all my extras for the gathering scene on location and explained to them the whole scene. Then I asked them to rehearse the scene for a week. Most of them rehearsed every night and on nights when there was no shooting, Lathy and I observed them with rest of my production team. We brought changes to the crowd placement, their movement and mostly the camera angles. These adjustments were also brought to the storyboard.

I decided to shoot that scene on a Friday since it was a fishing island and Friday being a weekend, most men stayed home. When that day finally arrived, I was a bit nervous and tad overwhelmed to see the huge crowd which must have comprised of more than 85 extras. It was more than the number turned up for the rehearsals. But my entire production team was very supportive, especially Lathy. He was very confident. Each and every one of my production team knew in detail what they have to do. We were fully prepared.

We first shot all the crane shots. Then went on to shoot all the mid shots and the close ups. Since one camera was used, the master shot was on a crane where camera followed the terrified protagonist, Saleem and his co-workers from a distance as they run in to the deafening crowd gathered around a resilient island chief who was trying his best to restore calm. The scale of the whole scene gets revealed as the camera follows the protagonist in to the crowd and slowly pulls up. It was real neat. We needed only two takes for that shot.

The other crane shots where from behind the crowd and another from behind the island chief. The mid shots or the close up shots of actors delivering dialog were completed mostly in one take. We estimated two hours fifteen minutes for the whole scene to shoot but we wrapped up forty five minutes early. It was one of the exhilarating shoots and a real milestone in my whole directorial career.

When 3 NOVEMBER was aired, it was well received by the public. I got several calls praising me for a work well done. But my whole gratification was when most calls I received from the islanders relating to the tension created in that drama to their own experiences on that day. They were very emotional.

Some even asked me how I got the audio of the live news from Voice of America. While some thought I shouldn’t have used the whole speech of the president which he gave soon after victory was assured on that day. The reason I did that was to archive the speech since I managed to get hold of it with great difficulty.

The local news my protagonist listens to on the surrender of the mercenaries who fled in the ship was especially wrote for dramatic purposes. But the tricky part was having it read by my mother who was famous nationwide for her news reading. Many felt it was an original as well.

Though the drama had a historical backdrop, it explored the human psyche on a psychological level. At times of peril one begins to relive their past which flashes right before their eyes and mostly starts regretting the mistakes they have done. They want to straighten out things almost immediately. In this drama, as the protagonist becomes desperate to seek news about his home, his past begins to unravel. The reason why he started using drugs is revealed in flashbacks. And when he gets unconfirmed news that a real hostage taken in the ship has a similar name to his father, his conscience questions the hatred he was having towards his father. Soon his relationship with his father peels off layer after layer.

I was very hopeful of 3 NOVEMBER collecting many awards. But on the awarding night, it received only best director’s award. I was completely shattered and disappointed even. But today I am fully satisfied of my work, the challenge and my wish of 3 NOVEMBER being shown on a historical day of the nation is finally realized. And it remains as one piece of work that tells the story of how majority of Maldivians living in the islands felt that day though they were miles away from the actual event. I too experienced that day similarly but I will always remain close to 3 NOVEMBER, as if I lived it just like the horrified citizens of Male’ who were waken up from their good sleep to the sounds of gunshots.

Cheers!

45 MINUTES

Tuesday night I had a sneak peek at the first edited 45 minutes of DHILAKANI (Fire Sparks). Yet again, it’s so frustrating for me to conceal the editor. Yes, he is yet to be unveiled. Who he is doesn’t matter at the moment. But what he’s doing behind concealment is nothing short of what every masked superhero does. This superhero is called THE EDITOR and he is a genius at the editing table. He can cut, insert, cut again and insert again any video clip at his reach and turn it in to a well paced movie. Once again, he has come up with a riveting 45 minutes of editing.

The entire cast has done an admirable job too. Thanks to sure handedness of director Hussain Munavvar. He does know how to handle the narrative. And his use of handheld camera for a very violent scene is raw and gritty, which at times is unbearable to watch, just like its impact on the leading actress who is witnessing the whole event unfolding right before her eyes. Though violent, the scene is staged very creatively using tight camera angles and of course the use of handheld camera.

The editor has estimated two weeks to wrap up editing. This is the first time he’s editing a movie where he wasn’t directly involved in the production. That’s what slowing down the editing when it comes to big scenes such as this violent scene I’m so interestingly boastful about.

In other news of DHILAKANI, director Munavvaru has scheduled 2 weeks to shoot the remaining 8 scenes including part of a song starting from 8^th November. But he’s keeping his fingers crossed for the weather to turn fine by then. Right now it’s unkind and unpredictable.

Before I finish off this post, it’s noteworthy to mention on the upcoming FATHISHANDHUIVARUGE FESHUN (The Beginning of Moonlit Dawn), the first local 3D film. In short it’s called F3D. At Dark Rain Entertainment Studio, the same night I watched DHILAKANI, I managed to watch a minute long footage of the film. Honestly, I couldn’t find my jaw. It dropped. I salute the work done by everyone at the studio including producer Mohamed Ali Mogre and cinematographer and director, Ali Shifau Chippe. But credit goes big time to Ahmed Shinan who is doing the meticulous 3D work and visual effects all by himself. It’s a remarkable experience the entire nation should and must witness, I mean everyone at the age group under which the film is classified. I take a bow to the team of F3D.

Cheers!

A ROUSING MUSIC

Late last Monday evening on the first floor of Seagull Cafe, I was with Mohamed Ikram, the music composer and sound designer of INGILI (Finger). By the time I drank the last drop of my burgundy, it was tasteless and colorless. But the rain outside has finally subsided. So did the cork shaped ice cubes which were completely filled in my tumbler glass when I first poured the syrupy reddish burgundy.

At Ikram’s recording studio, I was given a private screening to listen to now almost done music and sound designing of INGILI. For reasons not to spoil the movie, I’m going to be very brief and frank on the experience I had after the show. It was simply terrific. It was moody and for me, the most stimulating music Ikram has done so far. I’m not saying this because I’m a co-producer and the screenwriter of the film. I’m saying this because Ikram has really done a terrific job both with the music and the sound design.

In short, the music of INGILI can be compared to the human sexual response cycle. It may sound funny but that’s exactly how I felt.

The music starts off with a little bit of teasing just like the excitement phase of the cycle. The music carefully drew me in to the proceedings while in the film the mysterious character of Mua slowly drew the down on luck character of Copy Issey in to a dangerous psychological game. Mua indirectly explores the weaknesses of Issey and offers him a simple bet, though dangerous, which is impossible to refuse.

Once Copy Issey agrees to the bet, Mua thus begins a game of cat and mouse. Ikram masterfully heightens the music as Copy Issey slowly begins to question his decision. This is the plateau phase and the music builds up to a stirring finale.

With the ensuing drama, the music soars to a tension filled peak and exploding at the climax. Yes, it’s the orgasmic phase. This is where Ikram really shows his creativity at orchestrating the music for both characters. He maintains it for a while before dropping to the resolution phase. It left me breathless and I was sweating profusely despite the cold weather outside and the chilliness of the aircon inside.

But lo and behold! INGILI comes with multiple climaxes. The tribute Ikram has given to a classic tune in the final twist of the film is exhilarating. But of course this feeling can only be felt for those who can figure out which classical tune it is. Ravee and I know. So does Ikram.

With the above mentioned comparison, who would want to complain over such a rousing music that lasts for seventy five long minutes? All I know is that it’s gratifying than music lasting prematurely for three minutes.

Cheers!

BURRAAS AND DHILAKANI EDITS

Two nights ago, at Dark Rain Entertainment Studio, Ravee and I had the chance to listen to the theme song of MIKOE BAPPA BAEY BAEY (Come My Baby’s Father) called Burraas, written and performed by Ford who has made some great songs for HEYLAA (Wake Up), HAPPY BIRTHDAY and LOODHIFA (Crept).

Burraas is a rock song that talks about how hens become defensive when their chicks are faced with danger. The song beautifully summarizes the storyline of the film which is about a devoted mother who would go to any extent of protecting her child.

After listening to the song, Ravee, producer Mohamed Ali Moger, cinematographer Ali Shifau Chippe and I agreed the song was simply perfect and didn’t need any changes. We even decided of making a music video for the song which will be used to promote the film. Ravee has already started storyboarding the video which will include new footage of the film.

Besides the shouting made by hens and roosters, burraas also means the scream of an angry woman.

Also that night, I had the chance to watch the first edited twenty minutes of DHILAKANI (Fire Sparks) with its director, Hussain Munavvaru. The editor, whose name I still decline to reveal, has done a great job in assembling the scenes in his creative way of storytelling. I was completely unaware of how twenty minutes passed by. It was really engrossing. The entire cast has given a great performance and interestingly, it has shown maturity of Munnavaru in his direction since his debut with SAZAA (Punishment).

Last night, at L’Aquila, I hooked up with Munavvaru, leading actor Ismail Rasheed and Ravee who was recently commissioned to produce all the promotional videos for DHILAKANI. We discussed on Ravee’s proposed ideas of producing the trailers for the film. I must say his ideas were simply brilliant. Ravee is planning to complete the teaser trailer of DHILAKANI for a mid-November release. The sound of it made my day and my Marocchino never tasted better making me feel all warmed up as the rain outside poured down heavily.

Cheers!