Mahdi Ahmed

Scripting waves of imagination from the sunny side of the Maldives.

Posts tagged ‘sound design’

KAMANAA: SOUND OF FAI

In the world of cinema, sound design plays an often underappreciated yet vital role in shaping the viewer’s experience. It’s not just about what we see on screen, but also what we hear—every subtle sound, every piece of dialogue, every ambient noise that brings a scene to life. In Kamanaa, the sound design, crafted by the talented Mohamed Faisal (Fai), is nothing short of groundbreaking, especially for Dhivehi cinema.

Fai took on the challenge of creating something truly unique for Kamanaa. His goal was clear: to elevate the sound design of Dhivehi films to new heights. With the recent installation of the 5.1 surround sound system at Olympus Theatre, Fai saw an opportunity not just to meet the industry standard but to surpass it, delivering an auditory experience that would leave audiences in awe.

Understanding the emotional gravity of Kamanaa, Fai meticulously crafted the soundscape to enhance every moment of the film, immersing the audience in the world of the characters and making every scene more vivid and impactful. Whether it’s the tense silence before a confrontation or the heart-wrenching sobs that echo through the halls, Fai’s sound design ensures that the audience feels every emotion as deeply as the characters do.

What sets Fai apart is his ability to innovate while remaining true to the story’s essence. He didn’t just aim to create sound for the sake of it; he wanted the sound to be a character in itself—one that interacts with the audience, drawing them into the narrative on a deeper level. His work on Kamanaa isn’t just an accompaniment to the visuals; it’s an integral part of the storytelling.

Fai’s dedication to bringing something of high quality to Dhivehi films is evident in every decibel of Kamanaa. He understands that sound is not just heard but felt, and he has used this understanding to craft an auditory experience that complements the raw and gritty visuals of the film.

As Kamanaa prepares for its release on 27 August 2024, audiences can look forward to a film that not only tells a powerful story but also immerses them in a world where sound and emotion are intricately woven together, thanks to Fai’s visionary work.

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!