Himesh Reshammiya, the multifaceted sensation who had many aces up his sleeves adds one more dimension to his credit with multilingual big bonanza DASAVATHARAM. It could not have been anything better and bigger for him than Kamalhasan’s most ambitious big screen extravaganza DASAVATHARAM to enter South Indian filmdom. Reshammiya takes a break from his repetitively outrageous sounding “dhin-chaak” Sufi splurge and boisterous nasal singing by pitching out disco beat filled and religiously devout soundtracks. It may sound strange that the film that presents talented Kamalhasan in ten different “avatars” has just six original soundtracks in its audio packaging. Still they rock…
Kamalhasan took most unconventional decision by experimenting out with Reshammiya’s Sufi-rock mode as his peculiar “sarangi-tabla” loop embroiled with thumping disco beat fillers rock the floor with “Koi Tumsa (Come Dance with Me)”. Vinit’s (last heard in “Kesariya” (NANHE JAISALMER)) blistering vocals comes out all blazing with ire and thrust in emoting out a rip-roaring concert disco track. Sameer’s easy-going wordings about adulation for God Almighty sounds asymmetrical in its flow but the vigorously punched “sarangi” and drumming beat patterns lifts the spirits.
Reshammiya along with Sameer had soulful attribute “Purab Se” (BANARAS) that went unnoticed and now together they had another remarkable outing in “Om Namo Narayan”. Hariharan’s vociferous flows are immaculately pristine in its modulating flows that amalgamate brilliantly with the thriving sounds of “Shri Vishnu Stuti shloka”, booming conch (“shankh”) rendition and empowering temple bells in the backdrop. Sameer’s mythological aesthetics supreme out amicably in emoting out philosophical attributes about might of Lord Vishnu, age-old faiths and myths. Reshammiya scores appreciably in delivering out 12th century spiritual backdrop (reference to Rangrajan Nambi, a devout Vasihnavite) with traditional instrumental flows (feel of temples and palaces) and aggressively loud “shloka” rendition. It’s a thematically complicated composition to compose but still works out appreciably in signifying the sentiments of the situation and the protagonist. Soulfully Divine!!!
The concert feast returns back with trendy conglomerate of impressive vocals, titillating electronic sounds, scintillating instrumental flows and impressive wordings in “Oh Ho Sanam”. Shaan’s “yuppie” vocal feel is sparkling in its “unplugged” preludes followed by blossoming rendition of “Oh-ho-ho” that sets the mood for a rapturous rock-concert blast. The thriving beat patterns sports dazzling chemistry with Shaan’s ecstatic vocals in its sluggish disco-beat outburst. Reshammiya’s composition is noticeably analogous to his super-hit “Aa Aa…Aashiqui Mein Teri” (36 CHINATOWN) and Sameer’s impressive lyrics really works wonders. Mahalaxmi Iyer’s brief and shrill rendition hardly adds any substance to the thrill but its Shaan’s noteworthy rendition that rocks the show. The party continues with its DJ “club” remix where accelerated tempo along with raucously thumping beat-juggling really sets the floors on fire. Chartbuster!!!
Sadhna Sargam’s mellifluously driven vocals plays an ode to the divinity of Lord Krishna in pleasant sounding “Mukundha Mukundha”, melody coated “bhajan” that impresses to the core with its fine amalgam of traditional instrumentals and soul-stirring religious sentimental display. Reshammiya shows his versatile genius by incorporating the finesse of traditional South Indian music by playing out traditional instrumentals (“sitar”, “mridangam”, and “ghattam”) in midst of lovable humming and enchanting flute rendition. Kamalhasan disguises in old-woman vocals (similar to CHACHI 420) with couple of devout one-liners in its concluding “antaras”. Sameer’s comprehensive narration of all “Vishnu-avatars” is intellectually arranged in well versed phrases that evokes religious sentiments for the supreme deities. Melodious!!!
Shalini Singh’s seductive vocal oomph serenades out serpentine flows of liveliness, desire and seduction in flashy and retro feel club dancing track “Hey Black Ho Ya White”. Reshammiya’s thumping music is high on vigorously punched beat-patterns and peppy electronic sounds. Shalini’s sylphlike verve in bilingual (Hindi-English) rendition is appreciable and brings out 80’s styled “disco-station” appeal. Do anticipate oodles of visual delight when Mallika Sherawat storms out in middle with her voluptuously bold “avatar”.
DASHAVTAR rejuvenates both Himesh Reshammiya and Kamalhasan back into spotlight with fine pack of hip-shaking disco delights and religiously perceptive soundtracks. The album impresses and scores better than Kamalhasan’s previous two albums (CHACHI 420, ABHAY). Soundtracks like “Oh ho Sanam”, “Koi Tumsa (Come Dance with me)” and “Hey Black Ho Ya White” are catchy and likely to be picking up with promotion and success of the film. Even Hariharan’s soul-stirring rendition in “Om Namo Narayan” and Sadhna Sargam’s “Mukundha Mukundha” shows great substance in their harmonic packaging. Overall it’s a sincere effort to deliver both entertainment and enlightenment but is expected to be facing hard times for its acceptance for its “indifferent” subject and low face value in Hindi speaking belt.