Do Dooni Chaar

Do Dooni Chaar
EXPECTATIONS Do Dooni Chaar marks the comeback of Rishi Kapoor and Neetu Singh as a lead pair on the big screen. Since the film is touted to be a light hearted affair, one expects the music too to be peppy. Also, one does expect a fun number that would be entirely focused on the most loveable couple of the 70s, hence ensuring that audience relives the nostalgia. Still, one doesn’t quite know what really would follow in this short album since for composers Meet Brothers Anjan Ankit, this is their first ever Bollywood soundtrack. Also, lyricist Manoj Muntashir is a relatively new entrant too. MUSIC First to arrive is a celebration number ‘Baaja Bajeya’ that has its roots attached to North India. With the groom and bride’s legs being pulled by relatives and family friends, ‘Baaja Bajeya’ has Sunidhi Chauhan giving a ‘desi’ touch to the song. Expected to be picturised on Neetu Singh and boasting of some feel good moments, ‘Baaja Bajeya’ is a decent number though one does tend to remember Pritam’s ‘Thoda Thoda Pyar’ [Love Aaj Kal]. Vishal Dadlani has now almost become a regular when it comes to singing for not just his own compositions with Shekhar but also for other composers. He does so for Meet Brothers by coming behind the mike along with Shankar Mahadevan for the title song ‘Do Dooni Chaar’. A fun track with ‘bhangra beats’ accompanying the song for most of its duration, ‘Do Dooni Chaar’ does require a few listening before one gets a hang of it. With a touch of ‘Jhoom Barabar Jhoom’ to it, ‘Do Dooni Chaar’ is more enjoyable when heard in its ‘Club Mix’ version. The song though is mainly situational as it has been designed to go with the theme of the film. Meet Brothers present themselves with ‘Ek Haath De’ which has a Western base to it. Carrying the central theme of the film - desire of money hence leading to luxuries - ‘Ek Haath De’ has a philosophical touch to it as conveyed through Manoj Muntashir’s lyrics. Yet again, it is the ‘remix version’ that turns out to be relatively better than the original when it comes to the foot tapping appeal. Philosophical undertones are visible yet again in ‘Maange Ki Ghodi’ which is again about the protagonists’ desire to live a better life. Presented as a ‘qawalli’ with a touch of fusion mix to it, ‘Maange Ki Ghodi’ has Rakesh Pandit and Krishna coming together for a rustic rendition. One can sense that the team here, especially the lyricist, wanted to be true to the mood of the film. However, the situational appeal of the song means that one can’t quite expect it to make much impact commercially outside the film’s narrative. OVERALL Do Dooni Chaar isn’t exactly what one expected from the comeback score for a Rishi Kapoor and Neetu Singh starrer. Agreed that the flavour of the film isn’t romantic by any distance. Also, this was never supposed to be a quintessential musical entertainer. Still, when a film has one of the most loved screen pairs ever, it deserves to have the kind of songs that would have at least an instant appeal if not the kind that lasts long for a decade. In case of Do Dooni Chaar, the songs are decent but not the kind that would make you smile and play them all over again. OUR PICK(S) Do Dooni Chaar
Source: www.bollywoodhungama.com

Allah Ke Banday
EXPECTATIONS One doesn’t play on the music of Allah Ke Banday expecting anything that would be a quintessential feel good affair. After all the film, as the promos and the title suggest, is pretty much a gritty dramatic tale revolving around children and crime. Hence, you expect a theme score that would be haunting to say the least, a la Ram Gopal Varma films like Satya, Company or the Sarkar series. With multiple composers coming together for different songs in the album, you look forward to the kind of songs that would primarily play in the background with lip synch numbers being totally out of question. MUSIC The album gets a hard hitting start with Chirantan Bhatt coming up with exactly the kind of sound in ‘Maula’ that one expected from Allah Ke Banday. Sung in high pitch by Hamza Faruqui and Krishna, this fusion between sufi and rock does bring in the kind of high intensity impact that Allah Ke Banday required. Sarim Momin gets the right lyrics in place as the protagonists’ plea before God to make life better for the underprivileged. Next to arrive is a Kailash Kher, Naresh & Paresh creation titled ‘Kya Hawa Kya Baadal’. Written and sung by Kailash Kher, the track has a sad intrinsic feel to it. However, what takes the song down is the fact that it turns out to be pretty sad not just in the way it is sung and the theme that it conveys but also the way it overall sounds. Clearly, this one just doesn’t go anywhere and though it does aim at bringing on the theme feel of the film, the overall sound of ‘Kya Hawa Kya Baadal’ is such that you aren’t really excited to check out the much longer version that appears later. New entrants Tarun & Vinayak come up with a two minute long piece ‘Rabba Rabba’ which has director/actor Faruk Kabir himself coming behind the mike. This is the same song which is currently playing in the promo and is strictly situational. A rock number which has lyrics by Ravi Khote, this song yet again gets into the territory of lost childhood and innocence. However, even as one starts warming up to a little extent, it reaches an end. Sunidhi Chauhan goes almost unplugged for ‘Mayoos’ with just about a couple of instruments playing remotely in the background. As the title itself suggests, this one Sarim Momin written song has a sad feeling to it. This is understandable though as this film couldn’t have afforded to carry anything feel good. Despite the fact that this Hamza Faruqui number does turn out to be better than the couple of songs before it, it would be challenging for ‘Mayoos’ to make its presence felt outside the narrative of the film. There is an attempt to get some fun in place with Ishq Bector playing the double role of composer and singer with the track ‘Kaala Jaadu’. Sarim Momin writes for this situational track that could be set in the juvenile prison. Sounding so much like an 80s track, it is barely passable and though it tries to bring on the fun element on it, the maximum impact it may manage to make it within the context of the film if picturised well. OVERALL Allah Ke Banday was never expected to be a commercial score. However, despite this limitation, the overall results are not the kind that would make one gaga about the intrinsic quality that the album would have brought with itself. One now looks forward to what the film has to offer because it sounds far more promising. OUR PICK(S) Maula
Source: www.bollywoodhungama.com

Knock Out
EXPECTATIONS Music in an urban action film guarantees one thing - it would be fast paced and edgy. Even though Knock Out has an unusual cast of Sanjay Dutt, Irrfan Khan and Kangna with not much scope of music due to its plot based setting, one looks forward to what composer Gourov Dg [Gourov Dasgupta] has to offer. Panchhi Jalonvi is the prime lyricist with Vishal Dadlani and Shellee also contributing with a song apiece. MUSIC Sanjay Dutt and Kangna turn rock stars for the title song ‘Knock Out’ that is obviously made for end credits title roll sequence. A high energy track with Vishal Dadlani playing the role of a singer as well as lyricist, ‘Knock Out’ has Ashe contributing with the English rap. ‘Knock Out’ may not be the next chartbuster in the offing here since it has more of a concert appeal than being the kind which one associates with a film, it is a still a decent start nevertheless. The album takes a completely different route with Rahat Fateh Ali Khan coming up with a soft number ‘Khushnuma Sa Ye Roshan Ho’. A Panchhi Jalonvi written track which carries a theme of world being a better place to live, ‘Khushnuma’ moves at a slow pace and even though the beginning is okay, the later portions just turn out to be average. In fact one gets a jingle feel and despite the presence of Rahat Fateh Ali Khan, the results aren’t optimal here. Though the song is about hope, there is a sad feel to it which only makes one look forward to what next is in the offing. Another version of the same song appears as ‘Khushnuma Sa Woh Mausam’ (with Shellee as the lyricist) and this time around the singer at the helm of affairs is Krishna. The overall mood still stays on to be sombre though. Fun returns to the scene with Sunidhi Chauhan bringing on the exuberance with ‘Jab Jab Dil Mile’. Okay, so the fact is that the song reminds one of many a Pritam song from the past but still it is good enough to lend a foot tapping appeal to the album. Though not extraordinary and a chartbuster that would live on for a year to come, it still is energetic enough to ensure some good visuals complimenting the fast paced mood of the film. Panchhi Jalonvi’s lyrics aren’t anything great to write home about but then if at all there is some scope for the album to find inroads amongst the audience; ‘Jab Jab Dil Mile’ is the one that should be played on most. No wonder, there is a ‘remix version’ included as well. Then arrives ‘Tuhi Mere Hum Navaa’ which is a KK solo. A predictable track that enters into the Shankar-Ehsaan-Loy zone and musically reminds one of their compositions like ‘Mitwa’ [Kabhi Alvida Naa Kehna] and ‘Sajda’ [My Name Is Khan], ‘Tuhi Mera…’ by Panchhi Jalonvi makes for a comfortable hearing. In fact at places where a line leads to a pause, one is also reminded of Pritam’s ‘Teri Ore’ [Singh Is Kinng]. Due to its heard before feel, ‘Tuhi Mera..’ doesn’t carry a promise to make any inroads into the charts. Last song to come is ‘Gangubai Pe Aai Jawani’, which is seemingly an afterthought, considering the ‘Munni Badnaam’ wave and also some reasonable attention that ‘Issak Se Meetha’ [Aakrosh] is enjoying. Belonging to the same genre as the aforementioned tracks, this Sunidhi Chauhan number carries an altogether different mood when compared to the rest of the album. A standard item song with an earthy feel to it, it follows a template approach and turns out to be an ordinary affair. OVERALL Knock Out is a passable score though one would have expected better results. Even after one is through hearing the album a few times, there isn’t much recall value that makes one look forward to hearing it all over again. Barely okay. OUR PICK(S) Jab Jab Dil Mile, Knock Out

Guzaarish

Guzaarish
The verdant green landscape, the magnetic blue waters and the warm bright sunshine of beautiful Goa is home to one of the greatest magicians of his time, Ethan Mascarenhas. Presently hosting a Radio Show that spreads magic and hope and laughter through his irrepressible wit and humour to every listener and caller, it is difficult to imagine that this is a man who has been immobilized with a spinal injury for the last fourteen years of his life. Ethan is aided through every moment of his present life by the epicentre of his world - his Nurse, Sofia D’Souza. Theirs is a love beautiful in its implicit silence, unwavering in its quiet strength and spirited in their constant verbal sparring. On the fourteenth anniversary of his accident, Ethan decides to seek control over his own life. He makes a petition to the Court that shocks the world and leaves Sofia in an impasse that challenges their relationship and their love. Alongside all the tumult that follows, a young man named Omar Siddiqui bursts into Ethan’s world with a single-minded desire to learn magic from the very best. While on one hand Ethan passes on his magical legacy, on the other, he fights tooth-and-nail to demand the most basic right that every human being is entitled to - the right to his own life. The ethics, the morality, the kindness and cruelty of this mission creates a storm in all the lives that it envelops and its resolution forms the startling conclusion of Ethan’s remarkable journey.
Source: www.bollywoodhungama.com

Tees Maar Khan
Only once in a blue moon is such a great criminal born who is fearless as well as shameless! Now is the blue moon and the great criminal is TEES MAAR KHAN. He steals cons and cheats all with such alarming audacity that even shame shies away from him! He and his gang comprising of Dollar, Soda and Burger have managed to keep the police, world over, on their toes. Then one fine day international antique smugglers, the Johri Brothers, assign Tees Maar Khan the BIGGEST CON JOB OF HIS LIFE! He must rob antiques worth 500 crore rupees from a heavily guarded MOVING TRAIN! Will Khan and his merry gang, with some unwitting support from his wannabe-actress girlfriend, Anya, and a greedy Bollywood superstar be able to pull off the greatest heist in history?
Source: www.bollywoodhungama.com

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