^ ‘The Hundred-Foot Journey’ movie review: Dinner, if not the viewer, is served Retrieved.
^ The Hundred-Foot Journey exists where the food is delicious and the sun always shines: review Retrieved.
"The Hundred-Foot Journey: Lasse Hallstrom on "Sensuality" of Food in Film". "How Lasse Hallstrom Spiced Up 'The Hundred-Foot Journey' with Sexy Food, 35 mm, and A.R. Rahman collaborates with Alka Yagnik for The Hundred-Foot Journey song".
^ Alka Yagnik sings for The Hundred Foot Journey Retrieved.
"Hallstrom and Rahman: A 5,000-Mile Collaboration for 'Hundred-Foot Journey' ".
^ a b Dore, Shalini (August 16, 2014).
^ a b "Helen Mirren, Producers Oprah Winfrey, Steven Spielberg & Cast Talk 'The Hundred-Foot Journey' ".
: |access-date= requires |url= ( help) |format= requires |url= ( help) Rahman (2014) (motion picture) ( YouTube). The Hundred-Foot Journey Interview - A.R. Archived from the original on 19 December 2013. Rahman's The Hundred-Foot Journey Original Motion Picture Soundtrack" (Press release).
^ a b c d "Hollywood Records Set To Release Academy Award®-Winning Composer A.
Prasanna, Peter Calo, George Doering - guitar.
Gaayatri Kaundinya, Shalini Laksmi - vocalists for score.
^a Refers to a track not used in the film, but which is a part of the original motion picture soundtrack album recording.
Track listing The Hundred-Foot Journey (Original Motion Picture Soundtrack) Īll music is composed by A. The score has an infectious backbeat and high-energy such was stated by the newspaper The Denver Post. It may not be wholly believable, but it is fantastic escapism. Allison Loring for Film School Rejects wrote, "A wonderful, uplifting score, beautiful music from Rahman. Rahman contributes a distinctive flavor of its own to the film." Critic Laura Clifford for Reeling Reviews wrote, "A lot of traditional Indian music in the score". Rahman gives The Hundred-Foot Journey a lively score." Rex Reed of The New York Observer felt "The glittering, throbbing musical score by A. Lou Lumenick of New York Post wrote, "Composer A.R. Variety stated that the film features a "high energy score". The Washington Post 's Mark Jenkins stated that the score was exuberant. "Peter Howell of The Star called it, "A smile-widening score by Slumdog Millionare 's A.R. That was a fantastic part of making this film, that he invited me to the creative process." I got an opportunity to sit in his laboratory there and see him come up with ideas. Rahman in Los Angeles and worked out the score together. "Music could underscore the differences in the culture and the similarities, so we played around a lot with that. On completion of the score the director of the film was quoted as saying, "The result score is fiercely personal and original." In an interview at Indiewire, Hallström noted that the story has an attraction that he could play around with the merging the sounds and the languages, hence the hybrid score. Singer Nakash Aziz, through the song "Afreen", and Yagnik mark their respective Hollywood playback debuts through the soundtrack album. She tagged the track "extremely melodious", calling it "not a run of the mill song in an assembly line". Yagnik agreed to record after deciding that the melodies were meant for her voice quality. In July 2014, singer Alka Yagnik was recorded for the score. Through this track, the score's main themes were developed. Rahman hired Indian songwriter Gulzar for a Hindi and Urdu versed song ("Afreen"). The director and the composer worked together, communicating via Skype while Rahman was in Los Angeles finishing up Million Dollar Arm and Hallstrom was shooting the film in France. He said the score has ' western classical music sensibilities'. Rahman stated that recording was seamlessly done as per requirement. The distinction was brought out dramatically through music when there is a war sort of sequence in the film where both the kitchens are working in parallel. Thus, the score was organically mixed in a particular way, where the sound cues differentiate between Indian and French. According to him, a generic score wasn't the immediate requirement but he wanted to weave the screenplay into a theme that doesn't have a marked end or beginning. He stated that the Indian part of the score featured the instruments sitar, sarod and santoor. After seeing the first cut of the film, he took one and a half months to score it. The composer began scoring after the completion of filming, wherein he found the film pleasant. In December 2013, a press release featured in The New York Times confirmed A.
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