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having the camera sway with the music to create a distinct style. [49] The |
twilight scenes of "Maa" were a particular issue for the production crew. |
Because the specific lighting only lasted ten to fifteen minutes a day, the |
scenes took nearly ten evenings to film. Production at one time considered |
having a child singing, but ultimately deemed it too over the top and felt it |
would connect to more people if sung by an adult. Shankar initially performed |
the song as a sample—they planned to replace him with another singer—but |
production eventually decided that his rendition was best. [50] The trio of |
Shankar Mahadevan (right), Ehsaan Noorani (middle), and Loy Mendonsa (left) |
composed most of the film's music. Ishaan's truancy scene—he leaves school one |
day after realizing that his mother has not signed his failed math |
test—originally coincided with the song "Kholo Kholo," but Khan did not |
believe it worked well for the situation. In his opinion, the accompanying |
song should focus on what a child wants—to be free—and be told from the first- |
person perspective instead of "Kholo Kholo " 's second person. When Khan took |
over as director, he opted to use "Mera Jahan"—a song written by Gupte—and |
moved "Kholo Kholo" to the art fair. Viewers of test screenings were divided |
over the truancy scene. Half thoroughly enjoyed it but the rest complained |
that it was too long, did not make sense, and merely showed "touristy" visuals |
of Mumbai. Khan nevertheless kept the scene, because he "connected deeply" |
with it and felt that it established Ishaan's world. [51] Shiamak Davar |
choreographed the dance sequence of "Bum Bum Bole," and was given free rein |
over its design. He had intended to use 40 students from his dance school, but |
Khan did not want trained dancers. [33] Davar gave the children certain cues |
and a general idea of what to do, but left the style and final product up to |
them to avoid a choreographed appearance. [52] Time constraints meant that |
while Khan was busy filming "Bum Bum Bole," Ram Madhvani took over as director |
for "Bheja Kum". [33] [53] The latter sequence, containing a "fun-filled" song |
of rhythmic dialogue, [54] allowed the audience to perceive how Ishaan sees |
the world and written languages. It was intended to represent "a young boy's |
worst nightmare, in terms of ... the worst thing that he can think of"; |
Madhvani based the visual concept on his son's fear of "creepy-crawlies" such |
as cockroaches, dragonflies, and lizards. [55] Tata Elxsi 's Visual Computing |
Labs made the creatures out of the English alphabet and numbers, although Khan |
insisted they include the Hindi alphabet as not all the audience would be |
familiar with English. [55] [56] The chalkboard writing's transformation into |
a snake was included to surprise the audience and "end the song on a high |
note." [55] In writing the song "Taare Zameen Par," lyricist Prasoon Joshi |
followed the theme of "however much you talk about children, it's not enough." |
Every line throughout the song describes children, and only one repeats: "Kho |
Naa Jaaye Yeh / Taare Zameen Par" ("Let us not lose these / Little stars on |
earth"). [57] The song is mostly set to the annual day performance by the |
developmentally disabled children of Tulips School. Actual students from |
Tulips School and Saraswati Mandir participated, and were filmed over a period |
of five days. [58] The sequence originally featured numerous dance |
performances, but was trimmed down when test audiences found it too long. [59] |
A song accompanying the scene in which Ishaan's mother is watching home videos |
of her son was also cut, and replaced with background music after test |
audiences expressed their opposition to yet another song. [60] Background |
music [ edit ] "It is easier when you have to create a song like "Move Your |
Body" in Johnny Gaddaar . There you can add a lot of nonsense in the recording |
studio. On the other hand, something like Taare Zameen Par requires melody to |
hold center stage. There is a different level of energy that you have to bring |
in composing for such different soundtrack as we had to be subdued yet |
effective in Taare Zameen Par ." – Shankar Mahadevan [61] Timing and other |
aspects are usually planned when scoring a film, but Khan chose to take a more |
improvised approach. Instead of using a studio, he and the trio |
Shankar–Ehsaan–Loy recorded it at Khan's home in Panchgani, to clear their |
heads and not be in the mindset of the city. As they watched the film, Khan |
pointed out when he wanted music to begin and of what type. Ehsaan Noorani |
noted that this strategy allowed the score to have a "spontaneity to it." [62] |
Different styles of background music were used to convey certain things. For |
example, a guitar is played when Ishaan is tense or upset, sometimes with |
discordant notes. [23] The music of the opening scene—the recurring "Ishaan's |
Theme," which represents the character's peace of mind—overpowers the |
background noise to show that Ishaan is lost in his own world; the noise |
becomes louder after he snaps back to reality. [63] But the scene in which |
Nikumbh explains dyslexia to Ishaan's family took the opposite approach. |
Silent at first, the music is slowly introduced as the father begins to |
understand his son's dilemma. The almost seven-minute long scene scarcely used |
any background music, to slow the pace and make it seem more realistic. [64] |
Promotional material [ edit ] When filming part of the montage that details |
Ishaan's tutoring by Nikumbh, Khan immediately decided it would be the "key |
art of the film". He noted that "this one shot tells you the entire story", |
and used it for the poster. [65] Release [ edit ] Box office [ edit ] Taare |
Zameen Par was released worldwide on 14 December 2007, although countries such |
as Australia, Malaysia, New Zealand, and Fiji opened it on 20 December. [66] |
[67] It debuted in India with 425 prints, [67] [68] although revenue-sharing |
issues between the film's distributors and theatre owners caused some slight |
delays. [67] The movie grossed ₹ 150 million (US$3.63 million) domestically |
within the first three days. [68] Its theatre occupancy in Mumbai dropped to |
58 percent during its third week, but climbed back to 62 percent the following |
week—this brought the total to ₹ 770 million (US$18.62 million)—after the |
Maharashtra government granted the film exemption from the entertainment tax . |
Anticipating further tax exemption in other states, world distributor PVR |
Pictures circulated 200 more prints of the film. [69] The film completed its |
domestic run with $19,779,215. [66] To reach more audiences, the film was |
later dubbed in the regional languages of Tamil (Vaal Nakshatram) and Telugu . |
Both were scheduled for release on 12 September 2008. [70] It grossed |
$1,223,869 in the US by its seventh week, and £351,303 in the UK by its ninth |
week. [71] Reports regarding the film's worldwide gross have conflicted, with |
sources citing ₹ 889.7 million (US$21.52 million), [72] ₹ 984.8 million |
(US$23.82 million) [3] ₹ 1.07 billion (US$25.88 million), [73] ₹ 1.31 billion |
(US$31.68 million), [2] and ₹ 1.35 billion (US$32.65 million). [74] Protests |
in Gujarat [ edit ] In response to Khan's support for the Narmada Bachao |
Andolan and his criticism of Chief Minister Narendra Modi , [75] [76] |
approximately 50 activists of the Sardar Patel Group conducted protests |
outside of PVR and INOX theatres in Vadodara , Gujarat . The group also issued |
statements to all the multiplexes of Gujarat, suggesting that the film not be |
screened unless Khan apologised for his comments. [75] [77] The INOX cinema |
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