Music composer Alokananda Dasgupta created the soundtrack for the horror series “Khauf”. Photo: Rajeshwari Dasgupta, Prime Video
Composer Alokananda Dasgupta grew up in Kolkata and initially introduced horror through films but through Bengali literature. “I couldn’t read English at the time,” she recalls. “As a person, you try to make your life meaningful by losing yourself in a fantasy story or forcing yourself to feel fear.”
For artists born in the 1980s, the horror genre offers a “beautiful escapism” that is a safe way to explore fear. Her belish-inclined stories are not your typical haunted house story like chicken skin ump. Instead, they are set in a daytime hotel setting; they turn the summer afternoon in Kolkata into a quiet heat. “It made those afternoons creepy,” she said, noting that the stories first sparked her obsession with the contrast between light and shadow.
The same disturbing and atmosphere comes back when she reads Smita Singh’s script khaufthe main video horror anthology released last month. “The script reminds me of what I read,” she said. “I haven’t come across too many categories from India. So it’s new. I liked it last time. [2018 Netflix series] Corpse Eater and [2018 horror movie] tumbbadbut other than that, I didn’t see anything. ”
Dasgupta, known for her work in performances The Holy Game and thriller Trapped,join in khauf As a composer who debuted as a photographer and writer director Pankaj Kumar, he is known for his work Theseus’ boat,,,,, Hydeand tumbbad.
Received khauf She said it has been encouraging. “It’s a great reminder that everyone has to cater to a portion of the audience,” she added. “You can’t just treat them as a niche.” At the time of Bollywood comedy horror, khauf Combine psychological and supernatural people with a series of important social comments.
Dasgupta believes that as a fan of this type, Indian cinemas rarely manage to do horror. To change this, she said, we need to focus more deeply on the technical aspects of filmmaking, especially Mise enScène and design. “When it comes to money, I’m not talking about it being first class,” she clarified. “I’m talking about the attention to these details.” She added: “Secondly, trust only the audience, thus back down, build restraint and show what you need. We’ve seen more of it [approach]not more [approach]. “She shares these ideas with faith and believes in “audiences with different styles of horror styles” in Indian films.
exist khaufit was visual storytelling that attracted her. “Each frame is like a painting, so it creates a certain world,” she said. “I’m a big fan of the horror genre, but not other types of people, they’re face-like and have too much jumping fear.” The scores streamed on major platforms now enhance the tension and distressing emotions of the series, often inclined to subtlety. The opening title track “The Fear of the Night”, a guitar with hair violin, clarinet, etc., sets the tone.
In preparation, Dasgupta is immersed in a variety of horror movies – from follow By 2022 It’s quiet on the Western Front Even the most recent Nosferatu. The works, she said, “created this atmosphere of fear.” She also referenced them. Rosemary’s Kids,,,,, Willow manthe original 2003 Danish film halfwayand music White lotus– Playlist of her and her and creators khauf Exchange to understand the emotional and cinematic universe they are building. “This is for you [the composer] Understand, almost like a playlist of a show host or manufacturer, what they are thinking about and the world they are in. ” she explained.
With this foundation, her task is very clear. “I’ve been thinking about creating a conspiracy,” said Dasgupta, who is deeply connected with Madhu, the character played by Monika Panwar, and feels forced to contribute her voice to the story, rather than being a composer, but someone who has a person who comes to express it through horror music. Her purpose is to find the right balance between melody, ambient and atmospheric sounds.
“My instrument chose myself,” she said. The fraction has a mixture of bass clarinet, low brass and prepared cello, each creating a different texture. Chennai-based violinist Vignesh brings further depth, experimenting with blasting and scratching the body of the instrument to produce a creepy effect. The original score also includes contributions from composers Aditya N. and Himanshu Prakash, and is mastered by Keshav Dhar. A brilliant pattern with flutes inspired by the clinic called Ruhani Dawakhana or the psychopharmacy. “It’s very inspiring to me,” she said. “It’s a very beautiful and poetic name that takes me back to reading those [Bengali horror] story. ”
Although horror is still struggling to find a consistent audience in India, Das Gupta points out that horror music, especially the environment, has achieved minimalist results – the climb is even steeper. But she is still hopeful. “Even if it’s an environment, low-key score, let it be released. Let it be there,” she said.
watch khauf in Prime video.
