Celebrity Gossip: January 2010

Shah Rukh, Kajol to ring opening bell at NASDAQ

Brad Pitt Angelina Jolie giggle, bust split rumors at DGA

Beyonce duels Taylor Swift at 52nd Grammy Awards

LOS ANGELES — R&B superstar Beyonce was preparing to battle country star Taylor Swift at the 52nd Grammy Awards here Sunday as stars descended on Los Angeles for the music industry's equivalent of the Oscars.Beyonce heads a star-studded field of contenders with 10 nominations going into Sunday's extravaganza at the Staples Center, just ahead of the precocious 20-year-old Swift, who has eight.Beyonce has nominations in the coveted record of the year and album of the year categories, for her single "Halo" and her chart-topping double-album "I Am ... Sasha Fierce." The former "Destiny's Child" singer is also nominated in the song of the year category.But Beyonce is likely to face fierce competition in the major categories from Swift, as well as eccentric pop star Lady Gaga and the Black Eyed Peas, who all have nominations in the best album, record and song categories.The televised main section of the show gets under way at 5:00 pm local time (0100 GMT) but more than 100 awards in junior categories will be handed out over the course of Sunday's pre-show, which begins at around 1:00 pm.Trailing Beyonce and Swift in overall nominations are the Black Eyed Peas, Maxwell and Kanye West with six nods each.Swift, who enjoyed success last year at the American Music Awards and Country Music Awards, has rocketed to fame over the past two years.Nielsen SoundScan reported earlier this month that Swift was the top-selling digital artist in music history with over 24.3 digital tracks to date.Grammy chief Neil Portnow has praised Swift as a "phenomenon in entertainment." "She crosses so many genres and generations. She?s really struck a chord with people because her music is so honest," Portnow said.Sunday's show is the first Grammy Awards since Michael Jackson's death last year and is expected to feature an extended tribute to the late "King of Pop."The tribute will include a 3-D film clip made before his death as well as performances from Carrie Underwood, Jennifer Hudson, Celine Dion, Smokey Robinson and Usher. Jackson will also be honored with a lifetime achievement award during the show.Meanwhile, in the record of the year race, Beyonce's "Halo" will go up against Black Eyed Peas's pop track "I Gotta Feeling", the Kings of Leon's "Use Somebody," Lady Gaga's "Poker Face" and Swift's "You Belong with Me."The nominees for song of the year, awarded to the songwriters, are Lady Gaga's "Poker Face," Maxwell's "Pretty Wings," Beyonce's No.1 single "Single Ladies (Put a Ring On It)," Kings of Leon's "Use Somebody" and Swift's "You Belong with Me.The best rock album nominees, meanwhile, comprise AC/DC's "Black Ice," "Live From Madison Square Garden" by Eric Clapton & Steve Winwood, "21st Century Breakdown" by Green Day, "Big Whiskey and the Groogrux King" by the Dave Matthews Band and "No Line on the Horizon" by U2.The best new artist category features the Zac Brown Band, Keri Hilson, MGMT, Silversun Pickups and The Ting Tings.

Jackie Chan to debut in Bollywood SRK's 'Ra1'?

Genelia D'Souza - Not Fair

Madonna, Britney smooch voted kiss of the decade

Everyone should experiment with porn

Chance Pe Dance

If you want to be successful, you must either have a chance or take one. With a star like Shahid as a bosom pal, Ken Ghosh had it but with the film like this, Kapoor took one and the result is hardly pleasing. Chance Pe Dance is a story of archetypal Dilli guy Sameer (Shahid Kapoor) who leaves his home town to become a star in Bollywood. He is confident to break into the top league because every aunty in town, including his mom, has been telling him that he's a bundle of talent with killer looks- the only two prerequisites to become a Hero. But then Shah Rukh Khans are not made everyday. So, poor Sam has to do rather embarrassing things like lungi ads to eke out his existence at his ‘parsi-monious’ tenement. Going into auditions after auditions he has mastered the skill of saying, “Hi, I'm Sameer Behl and my number is…” but life in Mumbai without a grand daddy is not easy and getting a break, virtually impossible. His chances are stolen by others, his friends betray him and his landlord throws him out. He is rendered penniless stays in his car for days before he gets a job at a school and some emotional-cum-romantic support from a scooty-riding spirited choreographer Tina (Genelia D’souza). After his initial I-hate-kids attitude, Sam finds his solace by making the teenage underdogs of school the dance champs of the city. Eventually, he gets his biggest break as well but only to be matched by the biggest betrayal. Now he has no way but to enter the talent hunt like thousands of other contestants and emerge a winner to fulfill his dream... and our nightmare. It is a film like Chance Pe Dance that separates a Ken Ghosh from a Farhan Akhtar and Ashutosh Gowariker who actually spend so much time (esp. Ashu :-)) penning the details and seldom leave anything to ‘chance’. In times when flicks run on their taut and realistic storyline, Ken makes his Sameer Behl enter a talent show and eventually pronounces him a winner in an eight-pack flashing jig with virtually no competition whatsoever. It is Ghosh’s decrepit script and predictable plot that make even Shahid’s otherwise sincere performance go down the drain. Shasha, however, as Sam the struggler tries hard to lend authenticity to his character and succeeds as well. Genelia is as bright and breezy as ever but hardly displays her choreography skills. Alas, for her the film never picks up just like her scooty that perpetually runs on 30km/hr. Despite being a musical, Pritam, Adnan Sami, Ken Ghosh and Sandeep Shirodkar’s work is a big let down. The dance sequences are choreographed by Marty Kudelka, who has also directed moves of stars like Janet Jackson, Justin Timberlake, and N'Sync. Our Shahid also does well on the dance floor in certain sequences but chance favours only the prepared minds and Ken Ghosh was certainly not prepared when he was making this film.

Rann

Think. Really hard. What are we all doing with the opportunities that life so generously provides us? In the mad mindless rush towards self-gratification, are we somewhere sacrificing those values that brought us, kicking dragging and sacrificing from a hard-earned freedom from colonialism to the new millennium where we, the collective civilization, are now poised at the brink of a moral disintegration?Rann is that rare cinema about the collective conscience which we often like to think has gone out of style. Like Mehboob Khan’s Mother India and Hrishikesh Mukherjee’s Satyakam, Rann shows how tough it is to hold your head high up in dignified righteousness in a world where ethics crumble faster than cookies in wide-open jar leftv out too long in the sun. Ironically there isn’t much sunshine in Rann. The film has been shot in an anaemic light, symbolizing a world that’s largely losing light. Cleverly, Ram Gopal Varma situates his morality tale in the cut-throat world of the electronic media where the TRP is God, and deadlines the devil. And may the voice of the conscience rest in peace. Without fuss or wastage of time Varma introduces us to the plethora of characters who colonize the bowel of a declining channel run by the idealistic Vijay Harshvardhan Malik (Amitabh Bachchan) who believes there’s room still for the straight and narrow path in a business where grabbing attention is the murder of all invention. Varma plunges us into the world of the characters that he knows only too well. The glistening sweat on ratings-challenged eyebrows are captured through tight close-ups of worried faces that the camera (Amit Roy’s sharply cruising lenses moving from face to face with obstinate restlessness) that give nothing and yet everything away. The swirling swarm of characters reading, reporting creating and even manufacturing news, are so normal in their workaday concerns we almost miss the underbelly of moral anomaly that has become a way of life in present times. As in Varma’s Sarkar the moral battle lines in the media-run tale of Rann are drawn between the idealistic patriarch and his US-returned hyper-ventilating son Jai (Kannada star Sudeep) who is so nervous anxious and ambitious, you know he will eventually cause trouble for his ideologue dad’s news-worthiness. Trouble arrives in the flabby form of a seedy politician Pandey (Paresh Rawal, re-embracing villainy with lip-smacking relish) who plunges into the TRP war on television with no sense of propriety, legalese or the law. “The law is made by people like us to protect people like us from being convicted, ” Pandey pompously tells Jai before they both conspire with the help of a rival television tycoon (Mohnish Behl) to trash the idealistic Harshvardhan’s reputation. The plot accommodates more characters that a miniature touristic island in the holiday season (sans the sun). Not one of the characters need any explanation or occupy a superfluous place in the plot. The narrative is taut restless and biting in its depiction of corruption in supposedly responsible places. The artful opposition of real and doctored news is planted into the storytelling with no triumphant flourish. Varma’s concern for the characters he puts on screen is genuine but non-judgemental. While much of film’s inner fire burns outwards from the pithy and peppery writing (Rohit Banawlikar) the essential core of idealism is preserved in the understated relationship between the idealistic young rookie Purab Shastri (Ritesh Deshmukh, eschewing comedy to come up with restrained and pacifying performance) and his mentor Harshvardhan. Wish this bonding was built on. As restless as his camera, Ram Gopal Varma gives no space to the complicated labyrinth of relationships to grow. We are left to gauge the depths and dimensions that underline the furious flow of empathy and antipathy between various characters by reading between the lines. The first two-thirds of the narrative creates a gripping patchwork of television, drama and politics and how the three worlds often come together to destroy the basic fibre of human morality. It’s the last quarter of the narrative where Harshvardhan, after realizing he has been taken for a ride by his own son’s over-ambitiousness, that packs in the maximum punch. Here Varma and his scriptwriter effortlessly shift the focus from one specific area of troubled activity (the television) to comment on the compromised quality of contemporary life. Cleverly borrowing the premise for its climax from Mehboob Khan’s Mother India, Rann moves aggressively but confidently into its passionate finale where the patriarchal television tycoon must expose some harsh home- truths to cleanse his own conscience. Love for the country can never get dated when Mr Bachchan is around. Even in a world as devoid of human values as shown in this film. Rann is a razor-sharp bitter and biting look at the real world of rapidly-moving moral issues. Varma extracts superlative performances from the entire cast. From Ritesh Deshmukh’s heartbreaking idealism to Neetu Chandra’s part as Jai Malik’s secret Muslim love interest (the way Jai conceals her Muslim identity from family and friends is disturbing and amusing), they all know what the director and his writer have set out to do. As expected Amitabh Bachchan as the conscience of the plot, presides over the speeedened proceedings with a thoughtful and gentle performance. His climactic speech makes all of us sit up and think about the quality of work we do in order to keep up with the competition. Luckily Mr Bachchan’s consistently excellent output is never dependant on the ‘competition’ around him. Ironically his character is forced to stoop in order to conquer the TRPs. Ram Gopal Varma who has been lately guilty of making fairly compromised films, rises above the morass of mediocrity with a meteoric force, letting other filmmakers know what he is capable of achieving if he sets his heart to it. Rann defines the role of the electronic media in today’s context with remarkable virility and dramatic force. This is Ram Gopal Varma’s best work since Company.

Former topless model Katie Price to take a dip in holy river Ganga?

Affleck unhappy with wife's confession

Edge of Darkness

The ability to get angry on screen — to really light a fire with your fury — has been a defining characteristic of more than a few great movie stars (Humphrey Bogart, Jack Nicholson, Clint Eastwood, Russell Crowe). It's not a trait you really choose, either; it's one that chooses you. Mel Gibson was one of the chosen from the moment he first came to international prominence in Mad Max (1980). As Max, the cop–turned–two-lane-blacktop vigilante, he was a cocky kid in leather pants, just enjoying the ride, but when he cuffed a bad guy to an explosive, handed him a hacksaw, and said that he'd have just enough time to saw through his own ankle, Gibson established himself as a cold-eyed avenger who could bring an audience's blood to a righteous, happy boil. He's unleashed that rage countless times since, in Braveheart and Ransom and the Lethal Weapon films; even his infamous tabloid tirade showed us the dark demons of a star who'd made a point of revealing his demons on screen. So when you go to see Edge of Darkness, the new political revenge thriller starring Gibson as a Boston cop investigating his daughter's murder, you know who you're really waiting to see: Mad Mel.Gibson looks older now, still lean and handsome but with cracked-leather skin and haunted eyes that give him a touch of Boris Karloff world-weariness. Early on, Gibson's Tom Craven picks up his daughter, Emma (Bojana Novakovic), at the train station and brings her to his home, but something is wrong: She keeps getting sick, and when they walk out the door to go to a doctor, a masked gunman blows her away. The authorities assume that the bullet was meant for her father, but Craven, a clean cop (he doesn't even drink), knows that it wasn't, and he sets about uncovering the life of the daughter he'd kept at arm's length.Emma was a research assistant at Northmoor, a privately owned nuclear facility that looks like a cross between MIT and a James Bond villain's lair (the director, Martin Campbell, is the veteran Bond helmer who made Casino Royale and GoldenEye). It's the sort of place that can't be up to anything but dirty deeds done for maximum   profit. Edge of Darkness is based on a British miniseries from 1985 (Campbell was its director), but as compressed and updated by screenwriters William Monahan (The Departed) and Andrew Bovell, it's just a conventional, divertingly propulsive, borderline boilerplate corporate-high-jinks thriller.Gibson speaks in a dry Boston accent and really gets the gruff, blunt working-class Boston Irish 'tude behind those inflections. Every time he interrogates someone, it's a nifty self-contained face-off, with Craven, an instinctive tactician, playing every suspect and witness just so. His daughter's boyfriend (Shawn Roberts), who knows but won't say what she was up to, needs to be slapped around a bit — and so he is. The head of Northmoor, played by Danny Huston with his trademark widow's peak and amphibian leer (a more decadent echo of his father John Huston's), speaks in silky euphemisms, as he and Gibson engage in tasty power stare-downs. With each new scene, Craven's fuse burns a little shorter and hotter. Meeting the leader of Nightflower, a cult of leftist agitators who broke into Northmoor's top secret facility, he asks the dude to take off his glasses, then bashes him in the face. The efficiency of the brutality turns the moment into vicious comedy.Edge of Darkness has nervous whistle-blowers, sleazy politicians out to protect their puppeteers, and hitmen who drive an anonymous black van that might as well be marked ''The Hitmen's Anonymous Black Van.'' The picture also has Ray Winstone, with his ironic Cockney civility, as a sinister government cleanup artist so oblique about his loyalties that he often seems to be on the side of the people he's strong-arming. What the film doesn't have is a political revelation we give a fig about. The more that Edge of Darkness reveals about the Corruption of America, the less it seems like anything but a conspiracy-of-the-week excuse to get Mel Gibson hot under the collar. His slow-burn fury keeps the movie going, but not enough to invest us in any justice beyond payback.

'Avatar' beats 'Titanic' as worldwide box office leader

Saint John of Las Vegas

Legion

Couple sign 205m pound split deal

Catherine Zeta Jones misses walking naked

Kylie Minogue blasts lesbian rumours

Mallika's brother stops her from stripping

Ladkiyan khule-aam choli utar rahi hai why pick on me

Rakhi Sawant has given the censor-board a week to explain what she considers their irrational decision to ban her song. “I'll wait for a week and then I go on a bhookh hartaal in front of the censor office, ” warns Rakhi. Rakhi Sawant ko gussa kyon aata hai? It's the kameena ways of the moral police. The always-in-the-news actress is excessively angry with the censor board. “Fearlessly I've sent a legal notice to the censorboard. This is the first time something like this has happened. Others do chamchagiri of the censor board. Not me. I'm Rakhi Sawant. Main ishwar ki beti hoon.The censor board has done me injustice by deleting the word Kamini from my song. I won't take it lying down. Dharmendra has been saying the word kaminey for years. Vishal Bharadwaj's Kaminey came, were the censors asleep? There're heroines doing love- making scenes with their bare backs showing. Bharadwaj's films invariably have characters mouthing maa-bahen galis. If Rakhi Sawant sings Kamini tera bhoot chad gaya re the censor board gets stung. The song has been produced by my company Faith Inc. and I'm being damaged.”The argument that the word kamini is inappropriate on television holds no water for Rakhi.“Kyon? In the trailers of Ishqiya they show Vidya Balan punch-drunk on television, and that too in a saree. Is that allowed in our culture?Ladkiyan Khule-aam choli utaar rahi hai. What was Choli ke peeche kya hai? What were they asking? We all know what's behind the choli. If that can be airplayed for years why can't my song be telecast?”Rakhi then takes off on television serials. “Look at serials like Uttaran, Bairi Piya and Bandini.Young girls are being shown getting raped and forced to marry under-age. Women get married repeatedly, sometimes five times. Isn't this against the Indian laws? Isn't this against Indian culture? What is the censor board doing about such practices? Rakhi Sawant uses the word kamini and it becomes a dirty word. In serials we have men dragging their wives by their hair muttering.'Kamini main tujhe chodunga nahin.' No one pays any attention. Why point a finger at me? Stop all the malpractice on television and I too will shut up. We live in a corrupt and hypocritical democracy where the institutions appointed to monitor morality are bribed. Producers go with bulging suitcases and get their films passed. Aisa nahin chalega.”

I'll never be able to wear a bikini because I am fat, I am fat, I am fat

By Joginder Tuteja Flaunting one's body in a bikini is no more taboo in Hindi films, but new entrant Zarine Khan, who debuted with "Veer", says she would never be able to don a two-piece costume on screen.In "Veer", the Mumbai girl was covered from head to toe throughout the film. But is she ready to play a chic urban girl and wear contemporary costumes in her future movies?"I am more than willing to do so. What I am sure about though is that I would never be able to wear a bikini. That's because I am constantly thinking that I am fat, I am fat, I am fat. Till the time this voice reverberates inside my head, I will always be apprehensive, " Zarine told."I'm very conscious about my weight. In fact, during my school and college days, I used to weigh as much as 100 kilos. It's only now that I weigh a lot lesser. I want to play all kinds of roles and get into the kind of attire that a Hindi film heroine is required to wear."However, before that I will have to get rid of all the excess weight that I currently have on me. It's just a few more pounds to go and after that it should all be well, " said Zarine.Zarine, who plays princess Yashodhara in "Veer" that has Salman in the lead role, understands that if she wants to be in the business of showbiz, she will need a good figure."Whatever role that I consent to play, it has to be done with dedication. However, I'm a new entrant and there are so many established actresses who are taking the size zero route.Obviously, I can't beat them due to my body structure, but I wish to get into shape to the best of my ability, " she said.Narrating her journey of weighty issues, Zarine said: "It was only after I started doing modelling that my weight went down by 40-45 kilos from an original 100. I have a tendency to lose and put on weight. This is why while working on 'Veer', I was so happy. For a change no one was asking me to lose weight."In "Veer" she was not required to look skinny; therefore she could even pile on chocolates."Why just chocolates? I also got to eat other junk stuff which I had to earlier sacrifice. Any actress would have thought 1, 000 times before eating the kind of things that I got on a platter on the sets of 'Veer'. Having said that, I had to be reasonably conscious about not becoming 100 kilos again. I was regular with my workouts to maintain a curvaceous body." Zarine is now biding her time before she gets ready for her next venture."I am taking things slow and waiting for what best comes to me next. Industry has been supportive so far though I'm looking forward to something concrete. I'm taking things slow; there is no hurry, " she said.

Tooth Fairy

Extraordinary Measures

Creation

SRK is ready to wrestle

Deepika wants Salman!

The Girl on the Train

A young woman chops her hair, slices at her skin, and scrawls swastikas in Magic Marker on her torso, then pretends that she was the victim of an anti-Semitic attack. The accusation, followed by the exposure of her lie, explodes into a media frenzy. André Téchiné's The Girl on the Train is based on an actual incident — a fabricated act of anti-Semitism that polarized France in 2004 — but Téchiné, the astringent director of Wild Reeds (1994), backs off from exploring any of the incident's most obvious ramifications. In The Girl on the Train, what do the French citizens make of this Tawana Brawley-style hoax? We haven't a clue. And why does the young woman, Jeanne (Émilie Dequenne), tell her lie in the first place?

Téchiné spends the opening hour of the movie setting up Jeanne as a Rollerblading, Bob Dylan-listening, underachieving provincial princess who is far too close to her severe mother (Catherine Deneuve, turning off the charm), and who drifts into an affair with a sweet-talking jerk of a wrestler (Nicolas Duvauchelle). When the relationship falls apart — violently — Jeanne is lost, and after weeping at a Holocaust documentary on TV, she stages the fake attack. (And she isn't even Jewish.)

Émilie Dequenne, the stern young star of the Dardenne brothers' Rosetta (1999), now projects an eroticized bourgeois-feline narcissism reminiscent of Sandrine Bonnaire in the '80s. She's a captivating presence, but what Jeanne does never totally adds up, and there's no indication that Téchiné intends it to; he wants the audience to fill in the blanks of her motivation. That puts us in a rather squirmy position, since Jeanne's lie has a racial-political dimension that we're barely even asked to acknowledge. Téchiné has made a half-captivating, half-baffling tease of a movie in which one woman's destructive whim has the effect of making anti-Semitism look like a myth. It's a distortion that Téchiné, with a passivity bordering on perversity, does nothing to dispel.

Sweetgrass (Movie Review)

The Book of Eli

The clouds are gray, the scorched earth is gray, and the age-old nuclear ash falling from the sky is gray. If you look closely at Denzel Washington, as he saunters in slow motion through a bombed-out hotel lobby full of rotten-toothed ruffians, you can see that his hair and beard are flecked with gray as well. Is it just our imagination, or is the aridly desolate post-apocalyptic road movie showing its age? In the last 35 years or so, there have been an awful lot of them, going back to A Boy and His Dog (1976) and, of course, The Road Warrior (1982) — the greatest of all futuristic wasteland thrillers — and, most recently, The Road. I'm not sure if anyone was clamoring for another one of these films just now, but one thing is certain: We don't need The Book of Eli, a ponderous dystopian bummer that might be described as The Road Warrior without car chases, or The Road without humanity.What's left? A lot of wide-open barren desert space shot from music-video angles (think the Red Hot Chili Peppers' ''Give It Away''). The directors, Allen and Albert Hughes, do their best to make the landscape threatening by filling it with a token sprinkle of homicidal bikers and cannibals, plus Gary Oldman as an evil ringleader whose scariest aspect is his harshly photographed skin. Roving through it all is Washington's Eli, a monosyllabic lone gunslinger in a signature outfit of sunglasses, kaffiyeh, and knapsack packed with lethal blade. He's a mystical avenger who has been wandering through the wilderness for 30 years, toting a leather-bound King James Bible from which he plucks ominous quotes. He makes apocalyptic prophecy sound like a rerun.I'd be willing to forgive The Book of Eli its portentous sins if it had kick-ass action scenes, and every so often Eli does slice and dice the stuffing out of half a dozen hooligans at once, or he presides over a gun battle in which the bullets clatter and echo with full-metal zing. But those are just about the only scenes in the movie that have a pulse. At their best, the Hughes brothers have been brilliant directors: Their first film, the 1993 mind-of-a-gangbanger classic Menace II Society (made when they were just 20), established them as visceral and psychological prodigies, and the criminally underrated From Hell (2001) was a gothic-shock serial-killer mystery that featured Johnny Depp in one of his finest performances. (Had he been the mainstream superstar he is today back when the film was released, it might have been a sensation.) The Book of Eli is the first Hughes brothers movie that feels stripped of drama, imagination, sensibility. Some may find the film worth sitting through simply for its final ''Whoa!'' of a twist, but the Hughes brothers direct most of it as if they were glorified end-of-the-world set decorators. The Book of Eli is like a movie based on a graphic novel you don't want to read.

The Spy Next Door

Aniston, Butler in a raunchy photoshoot

Jennifer Aniston's New Romance?

Megan Fox Lingerie Pictures

Christina Aguilera Cameltoe

Ashley Greene Bodypainted

'I fancy girls too' says Kylie Minogue

Sandra Bullock needs alcohol to shoot steamy scenes

Brangelina pull out from Golden Globes

Madonna planning baby with Jesus

Rihanna goes public with Matt Kemp romance

Indian Idol Goes International With Narnia 3!

Sreeram collaborates with Fox Star Studios India's 'The Chronicles of Narnia: Voyage of the Dawn Treader' for a special sound track!The magnum opus, 'The Chronicles of Narnia: The Voyage of the Dawn Treader', which is all set to release in 3D, in Hindi, Tamil and Telugu apart from English, now has an added attraction. The film will have a special song recorded by none other than Sreeram Chandra, the winner of Indian Idol 5! Sreeram is a professional singer from Hyderabad who won the hearts of millions during the Indian Idol contest with his melodious voice. In addition, he left the audiences mesmerized in his first live concert, aired on Sony entertainment channel, very recently.Given his immense popularity, especially with the Indian youth, Sreeram has now been roped in by Fox Star Studios India in association with Sony Music, for a special song for Narnia 3 and that too in 3 languages- Hindi, Tamil and Telugu!The song called 'Rehnuma', composed by Harpreet, will feature with the end credits of the respective language version of the film and will also have a special music video featuring Sreeram and clips from the film. This song is also a part of Sreerams first album "REHNUMA" released by Sony Music after his winning the prestigious title.Mr. Vijay Singh, CEO, Fox Star Studios India comments "Sreeram's fresh, youthful voice is a perfect match to the exciting and thrilling Narnia experience. It's undoubtedly a hit song !"Shridhar Subramaniam, MD,Sony Music, India exclaims "Sreerams versatility and talent as a singer have taken him places including a mermerising performance at the closing ceremony of the Common Wealth Games 2010 where he enthralled the stadium and television audience alike. Sony music is proud to be associated with this collaboration with the Narnia film, through which an Indian artist receives an international performance platform. Cinema, as a medium, is not only larger than life but also a very encouraging space that gets etched in the pages of history and that is what particularly makes this all the more exciting".This association is part of a unique initiative by Twentieth Century Fox - where as an industry first, a special song for the film is being recorded by several international artists for their respective country markets around the world! While American Idol winner, Multi-platinum selling recording artist, songwriter, and 5-time Grammy winner Carrie Underwood has recorded the end title song, "There's a Place for Us," for the United States, Joe McElderry has recorded the song for the UK, and Swedish boy-band E.M.D. has recorded it for Sweden, etc...For Sreeram, though, this alliance marks a bigger, double achievement as he is not only the only artiste from Asia collaborating with Fox for the film, but is now also the first ever Indian artiste to have his song featured in a Hollywood film!Sreeram, on his part, is ecstatic - "Indian Idol was a dream come true and now 'Rehnuma' in Narnia 3 is like magic unfolding right in front of my eyes. I am delighted, honoured and humbled to have this opportunity. Now, of course, it all depends on how well the audience accepts and responds to our endevaour. The final verdict, as always, is theirs!".The keenly awaited third installment in the immensely popular Narnia series, 'The Chronicles of Narnia: The Voyage of the Dawn Treader', is steadily gaining momentum for its 3rd December release in India.

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