Movie review: Shudh Desi Romance

Last night I went to watch ‘Shudh Desi Romance’ for only one reason: writer Jaideep Sahni. 

And I wasn’t disappointed. This is not your average Bollywood film.

‘Shudh Desi Romance’ (SDR) is fresh and different and not just at a superficial level. It’s a portrayal of a new India where young people change boyfriends and girlfriends the way they change their mobile phones. 

Look around and you can see this India all around you. Yet, our movies and serials continue to portray the India we want to perpetuate. The India of chachis, fufis, shaadis and baaraatis. As if you can be carefree and crazy for just the pre-marital phase of life and then happily ‘settle down’.

“Yeh poore India ko bas ‘settlement’ ki padi hai”, grumble Sushant Singh Rajput in the opening sequence of the film. You betcha. 

Marriage is an industry, it’s a business opportunity, it’s the only legitimate entertainment India has. Khao, peeo, naacho, paise udaao – something to plan for, something to live for. And yeah, one hapless boy and girl get Fevicol-ed in public. Courts will ensure haishaa kar ke bhi todna mushkil hai.

Leave aside the few who marry out of deep desire to spend their lives with another human being and raise a family. The majority are entering marriage without thought, without clarity. Ladki achchi dikhti hai, chalo kar lo. Ladke ki family achchi hai, okay! Baad mein kya hoga? Adjust ho jayenge.

After all, har ek adjust ho jaata hai. How difficult can it be?

Believe me, it’s getting more and more difficult. I know of two cases in my extended family where the marriage has crumbled after less than two years. An arranged marriage, with all taam-jhaam, no expense spared. The reason, I believe, is simple. Girls are getting educated, they are working, they aren’t willing to take shit from their in-laws and husbands. And of course, threshold of tolerance on both sides is extremely low.

Coming back to SDR. Imagine a film where the characters keep attending weddings but no one actually gets married. There is a love triangle but no hero fighting to win the girl’s hand (instead there are two girls and one hero, and they don’t fight either). Women actually make choices. 

Gayatri (Parineeti Chopra) lives alone, far from her family. She is a working girl who experiments with love and life. 

Tara (Vaani Kapoor) is an orphan but not a bechari. She is also cool as a cucumber in any situation (which is unreal at times but okay – maybe effect of Art of Living or something!)

Raghuram (Sushant Singh Rajput) is a good-for-nothing. Yet he has not one but two hot girls chasing him. I think this is the point that most people in the audience could not digest.

But hello, there are guys like this – girls fall for them all the time, especially in school. Later in life, I suppose such boys are rejected as they are not ‘marriage material’. But once girls are independent, earning, capable of supporting themselves – do they need to marry only for practical reasons? 

You can get attracted to a good for nothing, have a fling and move on. Or, even marry him – if you really want to. Because after all, it’s your life. 

You will not 'settle' and lead the life Ekta Kapoor has planned for you.

Things that worked in this film: the acting of both girls & Rishi Kapoor, the dialogues (listen carefully), the setting (Jaipur city works very well for the story!). Lot of attention to detail. Toilet joke without toilet humour.

What could have been better: The songs (just okay). A bit too idealistic (all 3 characters have no pressure from parents or relatives – makes it much too simple). Chemistry between the characters (could have been better). 

The first half is fast-paced and interesting, the second half drags. But I absolutely agree with the ending. Overall, I give the film 3.5 stars. 

I think this movie is too radical for some to accept. But I hope enough people see it so that more such films get made. Or, we will get ‘Kochi Express’, ‘London Express’ – old stories in shiny new wrappers. Is that what we want or is that what we deserve?

I know we aren’t easy to please but Shudh Desi Filmmakers, please lagey raho.

Music Review: R...Rajkumar

 

Music: Pritam

Lyrics: Anupam Amod, Mayur Puri, Ashish Pandit, Nilesh Mishra, Swananad Kirkire

Singers: Mika Singh, Kalpana Patowary, Nakash Aziz, Ritu Pathak, Sunidhi Chauhan, Kunal Ganjawala, Arijit Singh, Palak Muchhal, Antara Mitra

When it comes to action packed Masala entertainers with a style and enigma of their own, one can't keep away Prabhudeva's (Director) 'Wanted' and 'Rowdy Rathore', both of which had music by Sajid-Wajid.. R...Rajkumar that has Shahid Kapoor and Sonakshi Sinha in the lead pair seems to have all the ingredients of a Masala entertainer and more so as it makes director's comeback into his territory after a disappointing 'Ramaiya Vastavaiya' recently. Coming to the music, Prabhudeva switches to Pritam Chakraborty from his usual Sajid-Wajid with five originals, one film version and one remix. For the lyrics, as many as five artists have penned the songs, le't' check them out!

To start.. Gandi Baat is as dirty as the name sounds and enters the Chart topper category straightaway. Mika Singh is in his electrifying tapori elements where Kalpana Patowary, a renowned Bhojpuri artist, does what Mamta Sharma has been doing for all these years and with aplomb. The arrangements and the treatment although may sound familiar with Pritam previous tunes, But it's the innovative tapori lyrics by Anupam Amod and electrifying spirited singing that makes it different from the usual. Addictive! To much surprise we have "Gandi Baat-Film Version" where the vocals are replaced by Nakash Aziz ('Dhating Naach') and Ritu Pathak on the same lyrics. Mika's version is more associated with style and zeal whereas Nakash brings on certain attitude and push in the renditions but still comparisons let this version down which is low on energy and his voice is definitely a misfit here whereas on the other hand Ritu Pathak is impressive and is the only positive to come out from this version.

Up next Saree Ke Fall Sa is a melodious track presented albeit in a different manner. Various instruments are heard alongside Nagada/Dhol, especially in the interludes. Nakash Aziz does full justice with his playful voice where Mayur Puri writes some silly/innocent lyrics. Antara Mitra does well although nothing extraordinary as the male vocals dominates the song. Something different from Pritam this time! The remix by Demestic Dew is passable and merely acts as filler.

A Pritam soundtrack is almost incomplete without a romantic melodious number..The Hit combination of Arijit Singh and Palak Muchhal brings Dhokha Dhadi which lands in one of those easy-on-ears Pritam numbers that doesn't requires a second hearings and is instantly hummable. As usual the chorus starts the song alongside some lovely violin piece where Nilesh Mishra and Swanand Kirkire writes some cheesy lyrics, something that we expect from artists like them, the phrase 'Dil Yeh Dhoka Dhadi Kar Dega Socha Na Tha' has been used wonderfully for describing one's state of mind of being in love. The second interlude has some extravagant Saxophone arrangements that make the delightful experience even more absorbing. Arijit's and Palak's honey dip vocals makes sure that this one enjoys a certain shelf life among the listeners. Beautiful!
 
Mat Maari is a fun number and that is clear from the very onset..a pure situational number that has some hilarious lyrics courtesy Ashish Pandit who makes sure that the listeners has smile on their faces halfway through. Kunal Ganjawala and Sunidhi Chauhan seem to be the obvious choice for this loud number which again has Dhol/nagada's throughout. It does take a bit of time to adjust to the unusual style of the number but once it settles down, it's really enjoyable and should be a wonderful watch on screen!
 
Kaddu Katega is the usual item number with some loud fast paced arrangements and seems to be a sequel to 'Dhating Naach' (Phata Poster Nikhla Hero). Antara Mitra adopts the style of Mamta Sharma and sounds very familiar to her 'Munni Badnaam' type renditions at places although the song is no way close to that. Ashish Pandit writes some bold lyrics that one associates with an item number like this. Overall it ends the soundtrack on a pretty average note. Skip!

Verdict: All in All, R...Rajkumar has Masala, fun and romance and is not the usual Pritam soundtrack. It certainly has that South Flavour on the treatment and arrangements which shows the impact Prabhudeva has on the music of his films. 'Gandi Baat' is sure to rule the charts unless something 'Dhoom' happens with 'Dhoom 3' where as 'Saree Ke Fall Sa' and 'Dhoka Dhadi' will surely find their set of listeners!

Rating: 2 out of 5

Music Review: Dhoom:3

Music: Pritam

Lyrics: Amitabh Bhattacharya

Singers: Siddharth Mahadevan, Shilpa Rao, Sunidhi Chauhan, Mohit Chauhan, Aditi Singh Sharma, Shivam Mahadevan, Anish Sharma, Julius Packiam, Naya, Pritam

Packed with stars like Aamir Khan, Katrina Kaif, Abhishek Bachchan and Uday Chopra, Dhoom:3 has undoubtedly become one of the most anticipated movies of the year. Slated to hit the theaters on December 20, the movie has already exalted expectations of the audience, all thanks to the blockbuster effect of the past two installments. The series is famous for the fast paced bikes and the adrenaline rush they bring along, but without engaging music all of that seems insipid. Pritam, who has been composing the music for the series since the beginning, was expected to take it all, a notch further up this time. But has the music really stood up to our expectations?

• Malang starts with an Arabic classic musical milieu and is healthily supported by apt lyrics, still there is something amiss. A Sufi song, with contemporary beats which has been planned in an extremely desi way – doesn’t sound quite right. Although the music is good, the song somehow doesn’t create that magic in your ears. The only good part of the song is where the Ragas come in the background as chorus and Shilpa Rao’s strong voice quality overshadows Siddharth Mahadevan’s singing attempts in the song. Overall, a very average song.

• Kamli is Katrina Kaif’s version of Aishwarya Rai’s Crazy Kiya Re. The track has some very up-to-date beats in the initial notes of the song, but fails to maintain the excitement throughout the catchy tune. Sunidhi Chauhan’s voice is always a delight to hear, and with Katrina’s dance moves grabbing everyone by the eye balls, this track would surely rock the charts. Having said all that – the song is just a regular Bollywood song that is released few years late in time. It feels outdated, but is still good to hear.

• Tu Hi Junoon is a typical montage song and seems to be hanging by a loose thread in the album. A much disengaged track, the lyrics are not very peppy and it is just the melodious voice of Mohit Chauhan that comes across as a relief. Much like Malang, the lyrics and vocals individually, are spectacular, but as a package, they miserably fail at creating any magic. It can be touted, as perhaps, the weakest song in the album – a plain, passable average song, which might work for you, once you watch the video.

• Dhoom Machale Dhoom comes at a point where the listener seems to have lost all hopes from the album, but is taken for a pleasant surprise. Sung by newbie Aditi Singh Sharma, this track is remixed version of the previous Dhoom machale tracks. Western instruments add a lot of fast based rap into this track, but it’s the dhol that puts you off. The song provides nothing new with respect to the tune, has become the anthem for this franchise. The track is fine, does justice to the lyrics, is a listener’s delight as compared to other tracks, and comes out as a classic Dhoom Machale Dhoom’s revamped version.

• Bande Hain Hum Uske is an impactful chorus sung by kids—Shivam Mahadevan and Anish Sharma. It has some heavy duty chords and depicts the pain in the film. The best in the album, it has been well drafted, and is a perfect score for an optimistic prayer song. Bande hain hum uske is not the kind of song which you will listen to every day, but will certainly listen to, when you seek motivation. A pleasant take back from this album.

• Dhoom Tap is well-arranged and satisfactorily held up by the backgroundDhoom score. The track is an all feet talking instrumental song which blends well with the other tracks.

• Dhoom 3 Overture is really nice to hear, if you are into instrumentals. It is an instrumental version of Bande hain hum uske, and the track begins and slowly ascends onto you and nicely depicts a pleasant musical accordion just as soon as it picks up. This is another must hear from the album with all of its well-arranged shifts and patterns.

• Dhoom Machale Dhoom Arabic Version does not make much sense as it is more of a promotional song. The album could have ended without this track as far as melodic overtures are concerned. The song is, although, unique and has been sung by Naya, seems like a take on Tata Young ’s version in Dhoom.

Verdict: Largely, Dhoom:3 is once again a hardcore commercial album, as has been the case with it’s preceding versions. This album doesn’t have tracks that will straight away appeal to you, and much like Krrish 3, the music of Dhoom:3tastes more like 2004, than 2014. The music surely does not spell doom! Go ahead, and check it out for yourself. 

Rating: 2 out of 5

Top 10 Bollywood Films for Music

Music directors these days are pushing the boundaries of vocal phenomenon with timbre, pitch, frequency, volume, bass, voice and rhythm, among others. My yardstick for the 2013 top ten albums is simple: Does the music have emotional appeal? Does it make me want to hit the repeat button? What about rhythm and lyrics?

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10. Phata Poster Nikhla Hero

Music: Pritam

This is an all out fun album, which lives up to all its expectations. Almost all the songs are good. The “Agal Bagal” number is fun and so is “Hey Mr. DJ.” It helps that my youngsters adore it. The album balances out with Rahat’s “Mere Bina.” 

9. Satyagraha

Music: Salim-Sulaiman, Indian Ocean, Meet Bros Anjjan, Aadesh Shrivastava

The album kicks off with a contemporary version of “Raghupati Raghav Raja Ram.” The mood of rebellion is conveyed with the music, but made more memorable with Prasoon Joshi’s lyrics. The album has a classical base to it. “Aiyo Ji” and “Raske Bhare Tore Naina” are the most memorable tracks.

8. Lootera

Music:  Amit Trivedi

This album opens with “Sawaar Loon” and you fall in love with the Hindustani sounds. The songs aptly suit the historical aspect of the movie and are lovely, lilting numbers. Not for your dance enthusiast, though. The songs remind me of 1942—A Love Story. The music is memorable; the songs are delightful and totally original.

7. Gori Tere Pyaar Mein

Music: Vishal Shekhar

This Karan Johar production will probably deliver if the music is anything to go by. (The movie hasn’t been released at the time of this writing.) A fun soundtrack with peppy dance numbers and slow romantic ones. The track features 9 songs and the ones that jump out almost literally are “Tooh” and “Chingam Chabake.” The lyrics are clever and amusing. “Naina” is the most beautiful song on the album. It’s lower on my list because it’s up and coming but definitely noteworthy. 

6. Ram Leela

Music: Monty Sharma, Sanjay Leela Bhansali

This audio is reminiscent of Hum Dil De Chuke Sanam and, like its predecessor, is a treat for all music lovers. Sanjay Leela Bhansali turns music composer and this album is a mix of folk and fusion songs. All ten songs are culturally nourishing, there is no room for remixes or pop flavor in this album, but all of the songs deserve to be heard and enjoyed. “Nagada Sang Dhol,” in particular, is my favorite both for the visual and cultural treat it provides.

5. Once Upon a Time in Mumbai Dobaara

Music: Pritam 

This movie takes us on a journey through a bygone era and the soundtrack aptly has a retro feel to it. Pritam has paired traditional qawwali numbers with lovely Hindustani music and this sequel delivers. We even have an old  favorite “Tayyab Ali” with a new flavor.

4. Raanjhanaa

Music: A.R. Rahman

He delivers with Raanjhanaa. The album has multiple tracks that showcase a fusion of Hindustani classical music with western symphony. The title track “Raanjhanaa” carries all the essential Rahman elements, marks a significant beginning, and doesn’t disappoint throughout. Incredibly noteworthy are the tabla, flute and sitar interludes. This is definitely an album for the old school and takes you on a musical journey to Benares.

3. Chennai Express

Music:  Vishal Shekhar

The music complements the flavor of the movie which is fast paced and full of masti. We start with “One, Two, Three, Four” and you have the marriage of North and South Indian dance music and lyrics, which continue all the way to the very end. The album is replete with heart pounding music and some moments of romance thrown in. Upbeat and catchy is how I would sum it up. The original album does not include “Lungi Dance,” which is featured during the credits and is performed by Honey Singh, but it is definitely worth an honorary mention.

2. Aashiqui 2

Music: Mithoon, Jeet Ganguly, Ankit Tiwari

The sequel to one of the most popular musical albums ever is one of the best soundtracks of this year. This album is a musical treat especially in this age of fairly repetitive tracks. It has beautiful instrumental numbers, romantic ballads and mesmerizing music. Long after you stop dancing to this years dance numbers you will have these songs on your playlist.

1. Yeh Jawaani Hai Deewani

Music:  Pritam
 
The most popular album of the year with chart topping dance numbers and soul searching slow numbers has to be the Karan Johar’s blockbuster Yeh Jawaani Hai Deewani. High on energy, it is a totally catchy and fun album, with its share of emotional songs. Both the movie and the album are a completely satisfying Bollywood package. Dharma Productions delivers again.