Meri Life Mein Uski Wife (2010)
 | Starring: Vikas Kalantri Heena Tasleem Shakti Kapoor Upasna Singh Rocky Sandhu Jatin Garewal Monalisa Supriya Karnik Director: Partho Ghosh | |
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Pangaa Gang (2010)
Pangaa Gang (2010)
 | Starring: Archana Puran Singh Sudesh Bhonsle Purbi Joshi Swini Khare Director: Pankaj Sharma | |
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Pangaa Gang (2010) Story:
The movie is set in modern times, in a beautiful place called Shantivan. The story follows the adventures of four kids with extraordinary powers as they set out to defend their homeland from unwelcome intruders.
The movie exhibits friendship, action, emotions and is a fun filled ride with top of the line 3D CGI animation. The treatment of the movie is done keeping in mind the current trends that kids follow; complete with catchy dialogues, fast paced action and great humor.
It is a moral led story, which eventually communicates the message of “Good wins over Evil” but the same is done in a true Bollywood style with great Entertaining value.
The movie exhibits friendship, action, emotions and is a fun filled ride with top of the line 3D CGI animation. The treatment of the movie is done keeping in mind the current trends that kids follow; complete with catchy dialogues, fast paced action and great humor.
It is a moral led story, which eventually communicates the message of “Good wins over Evil” but the same is done in a true Bollywood style with great Entertaining value.
Pangaa Gang (2010) Synopsis:
The movie is set in modern times, in a beautiful place called Shantivan. The story follows the adventures of four kids with extraordinary powers as they set out to defend their homeland from unwelcome intruders.
'Pangaa Gang' traces the action-packed journey of Chintu, Rinki, Gatru, Matru, Muchmuch and Thulthul as they battle evil forces to protect their beautiful homeland from deforestation and also save their animal friends from extinction.
It is a moral led story, which eventually communicates the message of “Good wins over Evil”
'Pangaa Gang' traces the action-packed journey of Chintu, Rinki, Gatru, Matru, Muchmuch and Thulthul as they battle evil forces to protect their beautiful homeland from deforestation and also save their animal friends from extinction.
It is a moral led story, which eventually communicates the message of “Good wins over Evil”
What is Deforestation?
Deforestation refers to the cutting, clearing and removal of rainforest or related ecosystems into less bio-diverse ecosystems such as pasture, cropland or plantations.
What are the causes of Deforestation?
I. Logging
II. Mining
III. Oil and gas extraction
IV. Cattle ranching
V. Agriculture: Cash crops
Facts about the Rainforest as Part of our Global Environment and Well-being:
Rainforests can be found all over the world from as far north as Alaska and Canada to Latin America, Asia and Africa
Rainforests are found in every continent across the Earth, except Antarctica
Covering less than 2 percent of the Earth's total surface area, the world's rainforests are home to 50 percent of the Earth's plants and animals
There are two major types of rainforest: Temperate rainforests and Tropical rainforests
Rainforests act as the world's thermostat by regulating temperatures and weather patterns
Rainforests are critical in maintaining the Earth's limited supply of drinking and fresh water
Temperate rainforests used to exist on almost every continent in the world, but today only 50 percent – 75 million acres – of these forests remain worldwide
A typical four square mile patch of rainforest contains as many as 1,500 flowering plants, 750 species of trees, 400 species of birds and 150 species of butterflies
Rainforests provide many important products for people: timber, coffee, cocoa and many medicinal products, including those used in the treatment of cancer
Rainforests are threatened by unsustainable agricultural, ranching, mining and logging practices
Before 1500 A.D., there were approximately 6 million indigenous people living in the Brazilian Amazon. But as the forests disappeared, so too did the people. In the early 1900s, there were less than 250,000 indigenous people living in the Amazon
At the current rate of tropical forest loss, 5-10 percent of tropical rainforest species will be lost per decade
More than 56,000 square miles of natural forest are lost each year
Every second, a slice of rainforest the size of a football field is mowed down. That's 86,400 football fields of rainforest per day, or over 31 million football fields of rainforest each year
Statistics on Global Rates of Rainforest Destruction:
2.4 acres (1 hectare) per second: equivalent to two U.S. football fields
149 acres (60 hectares) per minute
149 acres (60 hectares) per minute
214,000 acres (86,000 hectares) per day: an area larger than New York City
78 million acres (31 million hectares) per year: an area larger than Poland
On average, 137 species become extinct everyday; or 50,000 each year
78 million acres (31 million hectares) per year: an area larger than Poland
On average, 137 species become extinct everyday; or 50,000 each year
*If the current rate of deforestation continues, the world's rain forests will vanish within 100 years- causing unknown effects on global climate and eliminating the majority of plant and animal species on the planet*
What can we do to STOP or at least lessen the amount of deforestation …
Plant tree near your house and school
Consider giving live trees as gifts and encouraging others to help fight deforestation
Always use both sides of paper when writing, drawing, photo-copying, faxing, etc.
Reduce, Reuse, Recycle paper, cans, glass, and plastic
Read the newspaper on-line
Buy paper products made from recycled paper: notebook paper, paper towels, toilet paper, books, etc.
Use pencils until they are stubs!
Join environmental groups and get involved. Pay attention to what’s going on and ask how you can take action and how you can own this issue
Hmmm, can you think of other ways to conserve wood...? Brainstorm with your friends and family member
Plant tree near your house and school
Consider giving live trees as gifts and encouraging others to help fight deforestation
Always use both sides of paper when writing, drawing, photo-copying, faxing, etc.
Reduce, Reuse, Recycle paper, cans, glass, and plastic
Read the newspaper on-line
Buy paper products made from recycled paper: notebook paper, paper towels, toilet paper, books, etc.
Use pencils until they are stubs!
Join environmental groups and get involved. Pay attention to what’s going on and ask how you can take action and how you can own this issue
Hmmm, can you think of other ways to conserve wood...? Brainstorm with your friends and family member
Ishqiya (2010)
Ishqiya (2010)
![[Ishqiya+(2010).jpg]](http://3.bp.blogspot.com/_0o2Sl1EmBjM/S2OgmOgtiWI/AAAAAAAARig/LywjSIkTlcA/s1600/Ishqiya%2B%282010%29.jpg) | Starring: Vidya Balan Anisha Bano Adil Hussain Alok Kumar Naseeruddin Shah Arshad Warsi Gauri Mala Salman Shahid Director: Abhishek Chaubey | |
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The Ishqiya Movie Review:
Laughter Propelled Grenade
BY: Naresh Kumar Deoshi
RATING: 3.5/5
By N.K. Deoshi
BY: Naresh Kumar Deoshi
RATING: 3.5/5
By N.K. Deoshi
Niceties be damned! In an industry where films can’t roll out of the rut of sweet saccharine romances, brain-dead comedies and insufferable dramas, Ishqiya comes like a whiff of fresh LPG (laughter propelled grenade) which is explosively raw, ribald, gritty, grimy, and, most of all, real.
Brace up, all ye brave movie buffs, for an extraordinary ride through the badlands of rural India, where, as a village teen in the movie puts it, kids learn to shoot country-made tamancha before even being potty-trained. In this crime infested, caste-divided Gorakhpur arrive two runaway thieves, Khalujaan (Naseeruddin Shah) and his nephew Babban (Arshad Warsi) saving their scruffy hides from their gun-toting boss, Mushtaq, whom they double crossed and duped of Rs 20 lakh.
Hoping to take refuge in the house of an old acquaintance named Verma (Adil Hussain), the duo rather meets the man’s widow Krishna (Vidya Balan). Thereafter begins a love triangle, as Khalujaan falls for Krishna though the testosterone driven Babban suspects the widow but not without a desire to bed her. Krishna uses her feminine charm to manipulate the shabby thieves into plotting a kidnapping. Before they could even realize, the uncle-nephew duo is sucked into an inescapable quicksand of love, lies and deception. What follows is an incendiary climax, preceded with an unexpected twist in the tale.
Kudos to debutant director Abhishek Chaubey and his co-writers Vishal Bharadwaj (also the producer) and Sabrina Dhawan for putting together a film that’s not just seeped in realism but has layers of metaphors running through the story. The gas cylinders, the old lady (tai) with a burning torch and even an unfinished joke about two parrots in a cage with their female counterpart - all fit in seamlessly in the fabric of the story. And then, there’s humour, at times bordering on horseplay but mostly soaked in rustic vernacular, the abusive and the crass, that will have you double up with delight.
There’s also a funny and finely crafted track of a wife-cheating steel baron who pays obeisance to gods every morning and, having done that, hastily sneaks out of the temple’s backdoor for some bed-rocking, whip-lashing kinky sex with his mistress. And, of course, there’s a steamy kiss between Arshad and Vidya that puts all the liplocks of Bollywood to shame. It’s not like the superficial pecks or smooches that hero and heroines mostly do in films. But a full-on, lip-smacking smooch (rather smooches) with no-holds-barred fondling and canoodling.
Putting in a nuanced performance, Vidya Balan superbly turns into an alluring hussy with shifting affections and a secret to keep. Naseer is never known to go out of form and he’s every bit the clunky old rogue with a throbbing heart. Arshad is in his elements after a long time. Adil Hussain overacts in the scene showing his emotional outburst.
Vishal Bharadwaj’s peppy and soulful tunes, Mohana Krishna’s cinematography and Chaubey’s deft direction propped with powerful performances by actors make ‘Ishqiya’ a movie worth a watch. However, the film is not without faults. The plot gets too cluttered in the second half and a few twists before the climax are a tad unpalatable to digest, but overall the film remains thoroughly gripping.
Brace up, all ye brave movie buffs, for an extraordinary ride through the badlands of rural India, where, as a village teen in the movie puts it, kids learn to shoot country-made tamancha before even being potty-trained. In this crime infested, caste-divided Gorakhpur arrive two runaway thieves, Khalujaan (Naseeruddin Shah) and his nephew Babban (Arshad Warsi) saving their scruffy hides from their gun-toting boss, Mushtaq, whom they double crossed and duped of Rs 20 lakh.
Hoping to take refuge in the house of an old acquaintance named Verma (Adil Hussain), the duo rather meets the man’s widow Krishna (Vidya Balan). Thereafter begins a love triangle, as Khalujaan falls for Krishna though the testosterone driven Babban suspects the widow but not without a desire to bed her. Krishna uses her feminine charm to manipulate the shabby thieves into plotting a kidnapping. Before they could even realize, the uncle-nephew duo is sucked into an inescapable quicksand of love, lies and deception. What follows is an incendiary climax, preceded with an unexpected twist in the tale.
Kudos to debutant director Abhishek Chaubey and his co-writers Vishal Bharadwaj (also the producer) and Sabrina Dhawan for putting together a film that’s not just seeped in realism but has layers of metaphors running through the story. The gas cylinders, the old lady (tai) with a burning torch and even an unfinished joke about two parrots in a cage with their female counterpart - all fit in seamlessly in the fabric of the story. And then, there’s humour, at times bordering on horseplay but mostly soaked in rustic vernacular, the abusive and the crass, that will have you double up with delight.
There’s also a funny and finely crafted track of a wife-cheating steel baron who pays obeisance to gods every morning and, having done that, hastily sneaks out of the temple’s backdoor for some bed-rocking, whip-lashing kinky sex with his mistress. And, of course, there’s a steamy kiss between Arshad and Vidya that puts all the liplocks of Bollywood to shame. It’s not like the superficial pecks or smooches that hero and heroines mostly do in films. But a full-on, lip-smacking smooch (rather smooches) with no-holds-barred fondling and canoodling.
Putting in a nuanced performance, Vidya Balan superbly turns into an alluring hussy with shifting affections and a secret to keep. Naseer is never known to go out of form and he’s every bit the clunky old rogue with a throbbing heart. Arshad is in his elements after a long time. Adil Hussain overacts in the scene showing his emotional outburst.
Vishal Bharadwaj’s peppy and soulful tunes, Mohana Krishna’s cinematography and Chaubey’s deft direction propped with powerful performances by actors make ‘Ishqiya’ a movie worth a watch. However, the film is not without faults. The plot gets too cluttered in the second half and a few twists before the climax are a tad unpalatable to digest, but overall the film remains thoroughly gripping.
Rann (2010)
Rann (2010)
![[Rann+(2010).jpg]](http://2.bp.blogspot.com/_0o2Sl1EmBjM/S2Oi4QfD9aI/AAAAAAAARio/QubDQvdIjJk/s1600/Rann%2B%282010%29.jpg) | Starring: Amitabh Bachchan ... Vijay Harshvardhan Malik Mohnish Bahl ... Amrish Kakkar Neetu Chandra ... Yasmin Hussain Ritesh Deshmukh ... Purab Shastri Rajat Kapoor ... Naveen Shankalya Ikhlaq Khan ... Pandey's man Suchitra Krishnamoorthi ... Nalini Kashyap Nina Kulkarni ... Lata Malik Alok Nath ... Dig Vijay Hooda Gul Panag ... Nandita Sharma Paresh Rawal ... Mohan Pandey Simone Singh ... Priya Malik Shankalya Sudeep ... Jai Malik Rajpal Yadav ... Anand Prakash Trivedi Director: Ram Gopal Varma | |
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Rann – Movie Reviews:
When the watchdog of democracy turns into a business enterprise and when journalistic ethics are pawned off for TRP-friendly sensationalism, it’s time to sit up and take note.
Without succumbing to cynicism typical of other filmmakers repeatedly offering us the so-called ‘slice-of-life cinema’, Ram Gopal Varma guides us through the innards of the fourth estate, revealing its dirty underbelly that serves as a handy tool for politicians in their power games in Rann.
At the centre of the drama, without hogging the limelight, is Amitabh Bachchan, playing Vijay Harshwardhan Malik, the founding head of a news channel, India 24/7. In a media age where news is selectively edited, hyperbolized and presented with attention grabbing headlines and dramatic background music to boot, Malik is somewhat an oddball. A conscientious newsman, he sticks to his uncompromising journalistic ethics, even though it may lead to nose-diving TRPs for his channel. No surprise that his US-returned ambitious son Jay (Sudeep) doesn’t believe in his dad’s ideals and opines that the news channel ought to be run like a business company if it has to beat their rival (Mohnish Bahl), who believes in ‘creating’ news rather than reporting it.
Things take a turn for worse when Malik’s son Jay and son-in-law (Rajat Kapoor) become pawns in the hands of the wily and cunning politician Mohan Pandey (Paresh Rawal) who masterminds a media-led campaign against his political rival to get to the Prime Minister’s seat.
There’s only one man who can put a spanner in their working – Purab Shastri (Ritesh Deshmukh) who imbibes the lofty journalistic ideals of Vijay Harshwardhan Malik and an unwavering desire to dig out the truth and report it to people.
Credit must be reserved for Ram Gopal Varma for not making ‘Rann’ a mere bland exposé of the world of overzealous hacks. Ramu pumps in enough drama, grit and a wee bit of suspense and thrills to make the movie a compelling watch. However, at times the maverick filmmaker does overflap in his flight of idealism. Sequences like the one where Bachchan is shown spieling against religious hatred on a national television seem far-fetched. Also the plot gets a little convoluted in the second half as the story keeps flitting between a dozen or so characters. There’s also humour to be found in some characters – like that of Rajpal Yadav, playing the creative director with a knack for sensationalizing even the dullest of news stories. In a sequence he tells a filmmaker (Gul Panag) that the media’s job isn’t very different from that of a filmmaker – that is, providing entertainment.
‘Rann’ boasts of some stupendous performances, not the least by Amitabh Bachchan and Sudeep. Big B somehow stays the central force of the film without hogging much footage, but it is Sudeep (of Phoonk fame) who truly impresses with his well nuanced performance. Ritesh Deshmukh takes to a serious role effectively and Gul Panag (as his live-in girlfriend) does emote well the few scenes she’s given. Paresh Rawal is superb as the debauched politician. On the sidelines, Suchitra Krishnamurthy (playing the programming head of India 24/7) and Neetu Chandra (the Muslim fiancée of Jay) perform well.
Like his previous film ‘Sarkar’, Ramu’s cinematographer Amit Roy plays with light and shade and cans the shots from imaginative angles. The background music however gets jarring at times. Ramu can’t seem to do without it. Rohit Banawlikar’s writing is not without holes. The dialogues reek of superfluity in some sequences.
‘Rann’ takes off well but begins to lose momentum in intermittent reels. The drama does build up nicely in the last half hour – with a literal ‘sting’ in the tale – and concludes on a thought-provoking monologue by Big B.
If you are looking for a dose of serious cinema, ‘Rann’ is the answer.
For most of my bloggy friends who do not know Ram Gopal Varma, he is one of the most interesting and eccentric movie makers operating in India today(read more at wikipedia). Over the past few years his work has taken a turn for the weird, and not in a good way – most people have disliked it. His latest venture, RANN had held out promise from the first promos – which did not use the kind of saturation marketing that is common for movies today- and after watching it today i can only conclude that it lives up to the promise.
So what’s it all about? Rann deals with the very current theme of a nexus, criminal or otherwise, between the government (and politicians in general), industry and the news media. The politics of the movie are a bit naive, but forgivable, as they are more of a plot point for the drama that actually revolves around the quest for truth, honesty and integrity or complete absence thereof in media today. While it may not be the most original story(or indeed an original story at all), nor indeed the best possible way of representing the way news media is run today, it is the style in which it is told that makes it compelling to watch.
The movie begins with everyone switching on their news channels and taking in the latest dollops of BS served to us. However, one channel stands out as the last refuge of integrity in journalism and yet/therefore, it is the one doing poorly. This is because the channel (India24×7) is owned and run privately by Vijay H Mallik, who is widely respected among the people, but not by the people who want to run ads on the channel. Enter an idealistic journalist Purab, who makes a mark with a few investigative stories upon arrival and who wants to follow in the footsteps of Vijay Mallik. He is discouraged from doing so by Jay Mallik, the son and heir apparent of Vijay who wants to follow their rivals down the slope of sensationalism to bring in viewers and hence, advertisers. In addition, the news channel’s biggest rival (Headlines24) and its profit oriented owner Amrish(Monish Bahl) who is an ex-employee and seems to have an army of spies constantly scooping India 24×7. The movie takes a turn when Jay, who is related by marriage to a top industrialist seeking further enrichment, is swayed to join a plot to unseat the existing government through crafted and planted news stories in their channel in return for lots of cash. Jay then convinces his father that these stories are true and must be shown to the nation. Purab smells a rat, finds its carcass and cleverly pieces the puzzle together. What happens when he is done piecing the puzzle forms the crux of the story, which I will not do the disservice of boring you with. However, RGV’s use of a somewhat clichéd ending is slightly disappointing as is the fact that the movie is peppered with lectures. One wishes he had aimed higher while looking for a way to tie up the ending of the movie. Please note that none of this nit-picking however, diminishes from the ultimate impact the movie makes.
Having said that much, let me continue bloviating and say that RGV’s casting in this movie ranges from excellent to simply superb. Amitabh Bachchan, one of the biggest superstars and top actors of Indian cinema, has brought a level of seriousness to his character that has not been seen in a while. Paresh Rawal as the main antagonist is at the top of his game in the movie. Sudeep, a popular Kannada actor (but a new entrant to Hindi) dances the line between histrionics and overacting, though staying mostly on the safer side. Rajpal Yadav’s role is a curious distraction that is ultimately only played for laughs. Riteish Deshmukh provides the engine of the movie that compels you to understand the story fully, while Rajat Kapoor plays his understated role to perfection. The surprise package comes in the form of Monish Bahl, who revels in his role as an antagonist. My only gripe here is that the women in the movie, who do have well-defined roles for a change, have rather short and obviously supporting roles. In the present landscape where many news anchors are women, RGV seems to have missed a trick here or glossed it over. However, Suchitra Krishnamoorthy is excellent in her role as the egocentric producer/executive. Gul Panag is sweet but not really given space to deliver, just like Neetu Chandra, Simone Singh and Neena Kulkarni who do full justice to their small but important roles.
Technically as well, RGV leaves nothing to be desired. The film is shot, edited and scored pretty much to perfection and his decision to leave out the traditional song-and-dance in this movie is a welcome return to the Varma tradition. Writing and Screenplay are simply top-notch, with many clever touches that will keep you hooked and may make you do a double-take. The use of the camera to portray strong and complex emotions is one of the most fluent I have seen in any industry recently and to be honest, this has been a banner year for good Indian Cinema with a lot of technical achievements under its belt.
Absolutely worth a watch as probably one of the finest films you will see from India this year.
The movie begins with everyone switching on their news channels and taking in the latest dollops of BS served to us. However, one channel stands out as the last refuge of integrity in journalism and yet/therefore, it is the one doing poorly. This is because the channel (India24×7) is owned and run privately by Vijay H Mallik, who is widely respected among the people, but not by the people who want to run ads on the channel. Enter an idealistic journalist Purab, who makes a mark with a few investigative stories upon arrival and who wants to follow in the footsteps of Vijay Mallik. He is discouraged from doing so by Jay Mallik, the son and heir apparent of Vijay who wants to follow their rivals down the slope of sensationalism to bring in viewers and hence, advertisers. In addition, the news channel’s biggest rival (Headlines24) and its profit oriented owner Amrish(Monish Bahl) who is an ex-employee and seems to have an army of spies constantly scooping India 24×7. The movie takes a turn when Jay, who is related by marriage to a top industrialist seeking further enrichment, is swayed to join a plot to unseat the existing government through crafted and planted news stories in their channel in return for lots of cash. Jay then convinces his father that these stories are true and must be shown to the nation. Purab smells a rat, finds its carcass and cleverly pieces the puzzle together. What happens when he is done piecing the puzzle forms the crux of the story, which I will not do the disservice of boring you with. However, RGV’s use of a somewhat clichéd ending is slightly disappointing as is the fact that the movie is peppered with lectures. One wishes he had aimed higher while looking for a way to tie up the ending of the movie. Please note that none of this nit-picking however, diminishes from the ultimate impact the movie makes.
Having said that much, let me continue bloviating and say that RGV’s casting in this movie ranges from excellent to simply superb. Amitabh Bachchan, one of the biggest superstars and top actors of Indian cinema, has brought a level of seriousness to his character that has not been seen in a while. Paresh Rawal as the main antagonist is at the top of his game in the movie. Sudeep, a popular Kannada actor (but a new entrant to Hindi) dances the line between histrionics and overacting, though staying mostly on the safer side. Rajpal Yadav’s role is a curious distraction that is ultimately only played for laughs. Riteish Deshmukh provides the engine of the movie that compels you to understand the story fully, while Rajat Kapoor plays his understated role to perfection. The surprise package comes in the form of Monish Bahl, who revels in his role as an antagonist. My only gripe here is that the women in the movie, who do have well-defined roles for a change, have rather short and obviously supporting roles. In the present landscape where many news anchors are women, RGV seems to have missed a trick here or glossed it over. However, Suchitra Krishnamoorthy is excellent in her role as the egocentric producer/executive. Gul Panag is sweet but not really given space to deliver, just like Neetu Chandra, Simone Singh and Neena Kulkarni who do full justice to their small but important roles.
Technically as well, RGV leaves nothing to be desired. The film is shot, edited and scored pretty much to perfection and his decision to leave out the traditional song-and-dance in this movie is a welcome return to the Varma tradition. Writing and Screenplay are simply top-notch, with many clever touches that will keep you hooked and may make you do a double-take. The use of the camera to portray strong and complex emotions is one of the most fluent I have seen in any industry recently and to be honest, this has been a banner year for good Indian Cinema with a lot of technical achievements under its belt.
Absolutely worth a watch as probably one of the finest films you will see from India this year.
42 Kms (2009)
42 Kms (2009)
![[42+Kms.+(2009).jpeg]](http://3.bp.blogspot.com/_xgQV4twLZME/Supm7H5eIYI/AAAAAAAAIX0/JpmpLdc73xA/s1600/42%2BKms.%2B%282009%29.jpeg) | Starring: Mandira Bedi ... Sanjana Mohan Bhandari Prashant Chianani ... Sameer Nauheed Cyrusi ... Divya Sammir Dattani ... Sanjeev Saurabh Dubey Gautam Kapoor ... Sanjana's Husband Rajesh Khera Purab Kohli ... Raju Mahima Mehta ... Sumitra Bikram Saluja ... Ravi Anand Nausheen Ali Sardar ... Sapna Anupam Shyam Dara Singh Vivek Vaswani Director: Nisha Chainani | |
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Black Calendar 1.0
Black Calendar 1.0
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Black Calendar description:
A simple, easy to use calendar gadget
The Black Calendar sidebar gadget is same calender gadget which is provided with Windows Vista and Windows 7 but With better black interface.
The X-Men: Fate Of The Future
The X-Men: Fate Of The Future (2010)
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Yeh Sunday Kyun Aata Hai
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| Lab Pe Aati Hai Dua | Media Player-128 Kbps |
| Hum Subha Ke Bhoolon Ko | Media Player-128 Kbps |
| Re Mere Maula | Media Player-128 Kbps |
| Allah Ishwar Naam Tero | Media Player-128 Kbps |
| Lead Kindly Light | Media Player-128 Kbps |
| Gandhian Theme Music - Instrumental | Media Player-128 Kbps |
| Road To Sangam Theme Music - Instrumental | Media Player-128 Kbps |
| Vaishnav Jan To - Instrumental | Media Player-128 Kbps |
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Striker
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