Saawariya

Article Updated 02 October, 2007 11:12:27 PM IST

Saawariya

Post the super success of 'Hum Dil De Chuke Sanam' and 'Devdas', two names, Sanjay Leela Bhansali and Ismail Durbar, have become synonymous. The sheer magic of their creativity was reflected in the musical offerings of both those movies. Even SLB's debut movie, 'Khamoshi-The Musical' had a score that touched the hearts of music lovers and can be regarded as one of Jatin-Lalit's best album till date. The critically acclaimed 'Black', by the young composer Monty, is still remembered for its haunting background score and it gave us ample insight into his immense potential as a composer. No wonder SLB chose him over Ismail Durbar. Let us see how very wise this move turns out to be.

Simple and light guitar strumming is the perfect beginning to the enchanting title track, 'Saawariya'. Aptly titled, the song showcases two of the most promising youngsters of the coming generation, Ranbir Kapoor and Sonam Kapoor. To term it a light, frothy love song would belittle this marvel by Monty, as its much more than a mere love ballad. The effervescent musical arrangements, comprised of guitar, organ sounds and beads, simply blows the listeners over. Sameer's lyrics are simple and will strike a chord with the young GenX. The English lyrics too are sweet and will also be loved by the youth. But the real star of the show is Shail Hada, whose soft, youthful, unique and 'always-in-perfect-control' vocals are a delight. The way he renders this fantastic composition is just awesome. His 'yodeling' in late Kishore da style is superb and gets one nostalgic. A gem of a composition, one that that will have the die-hard romantic over the moon. Check out the lyrics - "Doli mein bitha ke, Sitaron se sajake, Zamane se churake, Lejayega ek roz tera udake jiya, Saawariya, Ho Saawariya."

Shail Hada is Ranbir's voice in 'Saawariya' just like Shailendra Singh was in 'Bobby' for Ranbir's dad, Rishi Kapoor. Will history repeat itself here? If the first composition is any indication, the answer is a definite YES!

A rock style start (reminiscent of the song in the dining table scene from 'Hum Dil De Chuke', where Salman Khan breaks into a song), along with canned applause, commences the 'Saawariya Reprise'. A unique fusion of rock and classical style singing follows. Shail Hada gets to showcase his superb control over his vocals through this brilliant piece. This one is totally different in body and spirit from the original. The applause in the beginning and the end shows that this is a situational, performance number, in front of an audience. All credit to the composer and the singer. Simply mind-blowing!

One is hardly able to get over the hangover of the title track and its reprise, then the next composition, 'Jab Se Tere Naina' takes over. Another superb piece, in terms of classy musical arrangements, lovely poetry and of course, the flavour of the season, the youthful freshness of Shaan's simply irresistible vocals. The combination of the electric flute, the soft violin sounds and the light drumming is in perfect harmony. Though the background chorus appears a bit out of place in this composition and of course Sameer's lyrics could have been better.

Distant sounds of "Allah", more like the azaan (Muslim prayer call), commences 'Masha-Allah' and we gear up for a lovely Sufi-styled composition. But alas, the expectations take a u-turn and this number turns out to be a mere love song with Kunal Ganjawala singing again with his 'Bheege Honth Tere' ('Murder') hangover. The song in totality ends up to be too tame and refuses to take off at any given point in time. Shreya is just used as a support vehicle with her background crooning. In any other album, it could have classified as a nice love song, but since Monty has such a great legacy to follow, just a nice song won't do. He has to come up with something more special than this one.

Is this the starting piece from 'Dil Cheez Kya Hai', the classy mujra from Rekha's 'Umrao Jaan'? No, it's the much talked about composition 'Thode Badmaash Ho Tum', where SLB takes on the mantle of a composer. Though the start seems to suggest that this is a mujra, later on the song changes track and moves into a feather-light romantic ode to the beloved, made even better and more melodious by Shreya's sugar–sweet and petite vocals, and enhanced by the liberal use of santoor. Lyrically, it has some touches of a ched-chaad number. Nusrat Badr, who is a well known Urdu shaayer (poet), has penned down the lyrics (like for Bhansali's 'Devdas'), so naturally expectations were really high. But sadly, even a lyricist of the caliber of Badr disappoints (maybe it can make a Sameer proud!). Sample this - "Thode badmaash ho tum, Thode nadaan ho tum, haan magar yeh sach hai, hamari jaan ho tum." Another average composition, because this is a Bhansali composition, who has a penchant for good music and so we expected him to deliver something spectacular with his first outing as a composer.

From one ordinary romantic song let's get to another one 'Jaan-E-Jaan', which commences with a Shanker-Jaikishan like orchestration from Raj Kapoor's classic, 'Mera Naam Joker'. It relies more on the musical arrangements. Kunal's vocals sound strained as he is not in peak form. Not his fault, as this composition required a more accomplished performer like Sonu. Some good piano notes and Shreya's singing lifts this strictly average song to an extent. Once again, this is a very sedate number that has a monotonous tune.

Sounds of thunder and lightning with Shreya's "waiting-for-you" and "missing-you" call for the 'Saawariya'(beloved), commences 'Sawar Gayee'. There is a conscious attempt by Bhansali and Monty to recreate the same mood and ambience (through the settings) as 'Silsila Yeh Chahat Ka' from 'Devdas', the track that got Shreya her first national award. But unlike the former that was lively (though the situation was not) and touched the emotional chords of the people, this one is too flat and Monty tries too hard. As a result, the same effect is missing.

'Pari' is once again a soft love ballad about a beloved akin to a pari (fairy). The song uses bare minimum arrangements and relies more on Ganjawala's vocal prowess, and he does a good job. Female background chorus is appealing. Massive orchestration, along with the bewitching 'Saawariya' signature tune and the superb whistling are the highlight of the nice track. Sameer's lyrics though are filmy - "Ek din asmaan se pari ayegi, Laut ke wapas kabhin na jayegi."

After Shail Hada, it's the turn of Parthiv Gohil to show his singing prowess with 'Yoon Shabnami'. While Shail was lucky enough to get a rocking composition first up, Parthiv is not. No fault of his and despite the handicap, Parthiv does a fantastic job. But its once again a very flat tune/melody that is a let down, though attempts to pep it with some nice qawwali interludes are there. It's a situational track, that if well picturised/choreographed, has the ability to rise to the occasion. This chaand song is reminiscent of the "Chaand Chchupa Badal Mein' from 'Hum Dil De Chuke Sanam'.

'Chabeela' has vintage Alka Yagnik. It's a delight to hear her after a long time. She does not disappoint, as she is at her best in this naughty, mischievous and thankfully lively, rhythmic number, which she delivers to perfection. The all Indian arrangements, comprising of the tabla, harmonium, anklets and bead sounds, make a pleasant hear. But poor lyrics by Sameer once again act as a damper. He has just gone for rhyming (tukbandi, like chabeela, kateela, rangeela, etc) rather than mature poetry.

The enchanting 'Saawariya' signature tune that kick started the promos and showed the first glimpses of Ranbir and Sonam, commences 'Daras Bina Nahin Chain'. The uncrowned queen of Punjabi folk songs, Richa Sharma is just the perfect choice for this beautiful composition with a mujra feel and touches of daadra and thumri. The big orchestra support, along with classical alaaps, are a real treat to the lovers of classy music. Though it's a superb number, its appeal will be limited to a section of the people who have some basic interest in classical music.

To sum up, the 'Saawariya' album would have been termed as good, had it not been a Sanjay Leela Bhansali offering. Even otherwise, it fades in comparison to the recently released 'Laaga Chunari Mein Daag', that had almost the same feel, mood and orchestrations (Indian). One feels that Bhansali tries too hard to measure up to his own standards. But his music director Monty is still raw. A seasoned composer like Ismail Durbar would have done justice to 'Saawariya' and he is sorely missed.

A better option would have been to use both Monty and Ismail as per the particular song situations. Barring the first three tracks and 'Daras Bina', the album disappoints and will be reflected in the sales, after the initial euphoria is over.

Rating: 7/10

Print this Article

http://www.bollyvista.com

http://www.bollyvista.com/article/a/31/8158