Music: Salim-Sulaiman, Akash Chopra & Labh Janjua
Lyrics: Amitabh Bhattacharya, Zaheer Anwar, Satyadev Singh, Akash Chopra & Labh Janjua
Expectations here may not be high, but then the Sagars’ banner were once known for quality musicals like Arzoo, Ankhen (1968), Geet and Charas and even their flop films like Jalte Badan had memorable music.
Though routinely written with clichÃ©d plural terms for single words like jannaton, mannaton and nematon, the rhythmic melody ‘Muh Meetha Karaa De’ is a neat number that keeps everything simple – from the placid instrumentation to the vocals. Benny Dayal is in free form again after ‘Latt Lag Gayi‘ (Race 2) and ‘Budtameez Dil‘ (Yeh Jawaani Hai Deewani), Monali Thakur gives a sweet tone to the number and the shehnai pieces are a highlight.
This song is composed by Salim-Sulaiman and penned by Amitabh Bhattacharya. The remaining two songs of this combo are nothing to go ga-ga about, though. ‘Khula Saand’ by Salim Merchant will be liked by those who like to go in for such loud Punjabi-ized numbers with smart-aleck English use (Mardon ke ankhen hoti hai camera / Mauqa dekhke zoom badha) and little by way of novelty or substance. The crass lyrics actually advise the hero to be a libidinous saand (bull)!
And ‘Rabba Main Kya Karoon’ (Raj Pandit, Benny Dayal, Vidhi Sharma) is one of those dull, pop-like numbers that make up the worst of contemporary film songs – the singers seem to sing only with their lips in a lackluster composition with indifferent lyrics and a pretension towards Sufi tenors.
Akash Chopra composes two songs, from which the doubtless situational ‘Brandy’ (which he sings and co-writes with Satyadev Singh) is another song that is musically bhangra-paap (sin) rather than a mix of Punjabi and pop! Trying to be heady – even the lyrics speak of intoxication! – the song is more of a pain in the head that also makes us wonder who appreciates an endless supply of such songs that seem the same in every way! It also triggers off amnesia – after it is over you do not recall the track despite four hearings!
‘Dua’ (sung by Akash Chopra himself), the other song, is a typical contemporary litany that mistakes an alternation of high-pitch with a low-pitched, throaty voice as deep sorrow. The lyrics are similar to a zillion such sad songs in films over the last five years with the same clichÃ©d permutations and combinations of similar words, phrases and sentiments.
‘Baari Barsi’ (written, composed and sung by Labh Janjua), a high energy dhol-and trumpet-rich number, is yet another variant of the well-known traditional Punjabi folk song. One of the more spirited versions, it makes up in verve what it lacks in melodious appeal.
This is a score that lacks in musical and lyrical caliber, with barely anything inspiring for the listener. The apparent ‘magic wand’ of using Punjabi lyrics and music to hard-sell even Punjab-based subjects has long since passed its expiry date, unless both music and movie have substance. Forget music buffs, nowadays it does not even entice either the pubs or downloads.