Ravindra Jain released the audio albums of Dard Bolta Hai…Sun Zara and Rich 60 at a Mumbai 5-star hotel last month. The album is produced by Amit Verma and Roopesh Verma Dard Bolta Hai…Sun Zara has music by Yasin Darbar (brother of Ismail Darbar) and has been sung by Rahul Verma who along with Lisna has performed in the video of the album. Rich 60 is a remix album.

Preet Mangat launched
Preet Mangat’s self-titled album of Punjabi pop was released last month at a suburban multiplex by Times Music. Preet has been assistant director, executive producer and runs Blaze Productions. He produced Musical Saggi, which set a record of sales for a non-film DVD in USA and Canada.
Preet ‘s first song as a lyricist was produced by Bally Sagoo. Juggy D’s Billo was also penned by him. Preet has a diploma in Sound Production from Singapore Polytechnic in 1998 and set up his own production studio in Vancouver in 2002. All the songs in his debut album are written, composed, produced and performed by Preet.

Ace fights master Kanal Kannan plays an escapee from a lunatic asylum and barges into a house where a girl stays alone leading to a thriller in Air Media Technologies Pvt. Ltd. maiden venture, Satrumun Kidaitha Thagaval. It is directed by Thakkali C Srinivasan who is known for his chilling psychological thrillers laced with liberal dose of humour. Bhaskar of Air Media said, “Kanal Kannan makes his debut as a hero. He fits the role to the tee and Bharathi plays the lonely frightened girl in the house where another character, Sethu, in the garb of a police enters leading to interesting and intriguing moments that captivate the viewers.” Srinivasan said the film takes the audience into a rollercoaster ride of laughter that thrills. TV host and actor Sethu plays the cop while Sreeman is cast in a cameo. Karunas plays the detective. Yesteryear heroine Kausalya makes a comeback in a key role.The audio release function was held at Hotel Savera and producer R.B. Chowdhary released the CD and director K.S. Ravikumar received it. Bala composed the music. The movie is slated for release soon

Cosmetic eye surgery is the most common type of cosmetic laser surgery, and it is a precise, minimally invasive laser treatment which reshapes the cornea, and helps the eye to be able to focus properly. This type of procedure can reduce and in fact eliminate the need for contact lenses or eyeglasses, and it is performed with an excimer laser.

This is a procedure which is certainly worth at least looking into, and LASIK is the most commonly completed procedure, and this stands for Laser Assisted in Situ Keratomileusis, and this is a procedure which will permanently change the shape of one’s cornea – the cornea being the clear covering of the front of the eye.

Hair removal laser surgery is a procedure which can be done to remove unwanted hair from a person’s body, and which is truly reasonably priced and which does not take all that long to complete either. Laser hair removal is a procedure which can be used on both men and women; women tend to use it on their legs and men on their backs, for the most part.

Laser hair removal is a truly gentle and effective way that you can use to permanently reduce unwanted hair from virtually any area of the body, and thanks to that of longer wavelengths and new skin cooling devices, the latest laser hair removal systems are able to safely and effectively treat individuals of all sorts, regardless of their skin color or type.

In regards to the number of treatments that you will have to undergo, this will obviously depend on your particular situation, but typically there should not be that many. As well, it should be known that hair removal laser surgery is a procedure which is most effective when hair is in the growth stage; because of the fact that hair grows in cycles, the patients involved with this type of procedure typically require that of a series of four to six sessions in total, and so this is not that bad overall.

Puritans may find this incredulous—Spanish cinema maestro Carlos Saura enjoys Hindi films for their “impossible love stories” as well as song and dance sequences.However, the reasons for it are not very hard to guess. During his career spanning 50 years, the filmmaker has made intense theatrical storytelling, imbued with generous use of song and dance, his domain.

But the Indian connection of Saura—who is in Mumbai to receive the Global Lifetime Achievers Award at the 10th MAMI International Film Festival on Thursday—doesn’t end with his interest in Hindi films. “Zubin Mehta will be conducting the operatic version of my film Carmen in Italy’s Florence next month,” says Saura, who admires Satyajit Ray. “I grew up watching Ray’s films and recently gave a talk on his works and life. I’m also fond of Mrinal Sen and Mira Nair’s works,” he says.

But he hasn’t seen much of contemporary Indian cinema, as they are not shown in Spain. What’s heartening is that they are trying to create a platform for Indian films, he says.

Passionate about dance and music, Saura, whose mother was a pianist, has proposed make a film on Indian music. The project revolving around a group of flamenco artistes searching for its roots in India still hasn’t got a go-ahead. Still, the filmmaker who introduced himself as “75-year-old, maker of 40 films and father of seven”, says that this film would be one of the projects he would like to complete before retiring.

Saura, who forms the troika of iconic Spanish filmmakers along with Luis Bunuel and Pedro Almodovar, is currently making Io Don Giovanni whose first phase of shooting in Vienna is over. “I will resume its shooting after Carmen is staged,” he says. This film will explore the making of Mozart’s Don Giovanni, which has always fascinated Saura.

Saura, who is one of the first Spanish filmmakers to deal with Spanish Civil War and the aftermath, has in recent years shifted his focus to cultural issues. But the use of allusion and allegory he had adopted to avoid censorship during the 36-year dictatorship of Franco still dominates his narrative.

“Doing musicals come easy to me. I find depicting fictions more strenuous,” says the filmmaker, known for visualising a film’s scenes according to music. His filmography consisting of a trilogy on Flamenco, Tango and most-recent Fados, a drama steeped in Portugal’s Fado music culture, confirms this.

For the prolific filmmaker—who happens to be a great photographer and is travelling with his camera—capturing images remains a part of preserving memory. But it’s an exercise in reverse while making films. His cinema is textured with autobiographical slices—which he terms as “decoding memories”.

The MAMI festival might have celebrated his work by screening eight of his films and by honouring him, but Saura dreads revisiting his earlier works. “I wish I never have to watch them again. All of them could have been so much better,” he says, tongue-in-cheek