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| Director :
| Anurag Kashyap
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| Music :
| Sneha Khanwalkar
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| Lyrics :
| Varun Grover and Piyush Mishra
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| Starring :
| Manoj Bajpayee, Nawazuddin Siddiqui, Huma Querashi, Richa Chaddha, Tigmanshu Dhulia and Piyush Mishra
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August 8, 2012 06:44:28 PM IST
By Satyajit, Glamsham Editorial
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GANGS OF WASSEYPUR II (GOW II) opens big on expectations and mercurially high on "curiosity quotient", as its prequel (GANGS OF WASSEYPUR) was one of the most well-received film of our times. Loaded with immense gory violence, deceitful characters, eye-opening realistic facts and off-course an unfulfilled vengeance feel, this sequel will surely be the one special big-screen feast for the cine-lovers. Sneha Khanwalkar, musical brainchild behind the success of GANGS OF WASSEYPUR ("Jiya Tu", "O Womaniya", "Hunter" and "Keh Ke Loonga") has impressed big-wigs of tinsel-town and this sequel again puts her again in the driver's seat. Can we expect another musical surprise from her? Let's find out...
Cantankerously Chirpy! GOW II starts off dark, haunting and volubly shrill in the opening track "Chhi Chha Ledar", a number that brings satirical tones of unexpected happenings in this gory thriller. Durga, 12 year old singing prodigy childish vocals are energized with jarring electronic sounds and rhythms, and later with aggressively thrived electronic fillers, showcasing a thrilling "chase" between characters. Varun Grover's daring lyrics shows raw outrageous attires and boldness that should work in giving an adventurous thrill on big screen. It's not as engrossing as "Jiya Tu" but has sufficient enthralling moments that should be narrative enough in the scripting.
Coal-Bazaari begins! The underbelly of coal mafia and trade gets an engrossing melodic exploits in the next soundtrack "Kaala Rey", a narrative background score having sounds of digging coal mines, rigorous drum-beats, haunting vocals with a strong dark-noir cinematic appeal. This Sneha Khanwalkar's composed and sung track belongs to RGV's school of music primarily, where there is consistent grueling musical feel with mild-paced arrangements, supporting out the gist of this realistically penned action potboiler. Varun Grover's subject-oriented lyrics make the most impact and paint a collage of scheming and treacherous endeavours. This Khanwalkar expressive composition carries the general idea of this sequel and sketches out the caricatures of the main characters.
The fervor of "O Womaniya Live" (GOW) relives to new tuneful appeal of another "ladies-sangeet" special singing attraction in "Electric Piya (Fused)". As far as the composition is concerned, Bihar's folksy thrives are mixed with "club-remixes" maneuvers in Hinglish lyrical flows to deliver out a bizarre dancing feel for the occasion but the end-result is too ordinary. Rasika Rani's earthen voice in louder tones leads the show that hardly impresses but it's the racy concoction of electronic fillers in the latter phases that strikes senses.
"Bahut Khoob", a dizzy childish track with loads of electronic fillers, brings out the varied mindsets of childhood memories. Khanwalkar pitches an "abstract" musical work this time that is too heavy on experimentation where Kids of Musahar village plays as the choral vocalist of the track. The soundtrack comes out as evocative background score, where a barrage of emotions strikes a child's mind, leaving him in a state of dilemma. Sounding interesting in arrangements, a well-etched depiction is surely on the cards while it's instrumental version ("Bahut Khoob (8-bit)") comes as its brief edition, where volubly loud childish chorals domineers.
"Taar Bijli", the next track sounds more like folksy version of "Electric Piya (Fused) " and sounds much better. It brings Padamshree Sharda Sinha's impressive voice to the fore with simplistically set of harmonium, tabla works going in tandem with loud chorals. Khanwalkar captures the innocent and chirpy sentiments of a customary Bihari wedding with aplomb, as she did in "O Womaniya Live" where "tongue-in-cheek" wordings (about thin physical stature of bridegroom) added the desired spice and fun to the situation, a colourful engrossing affair on big screen is surely on cards.
Piyush Mishra on-screen presence was convincing and his sung track "Ik Bagal" (GOW) too made a strikingly expressive impact. "Aabroo", a vociferously gibberish "qawalli" number paints him in a different singing avatar. This time he along with Bhupesh Kumar sings out feverishly loud this track with wishy-washy lyrics. Khanwalkar delivers a perfect "qawali" musical setting but the hilarious tinge is not too convincing, a loud melodramatic presentation (depiction of "Mahabharata" nautanki attire) on big screen may create a difference of opinion.
"Perpendicular (theme)", an iconic instrumental-beat based track on the deadly character "Perpendicular", comes out as quirky electronica filled number with varied brass-band sounds. It's brief and sharp in tones, exuding out the dark characteristics of the portrayed character.
Serenity in sounds and moods returns with a soft-melody titled "Moora". Sneha Khanwalkar's breezy voice renders it with subtlety and is ably supported with somber Calypso stylized arrangements. It has a strong "alternative rock" fusion feel that is experimental but is still soothing to the ears. Robbie Styles back-up vocal support gives it an international feel, an aesthetically pitched background score that should work in light moments of this flick.
"Moora (morning)" is more vocal, crisper and funkier. Khanwalkar uses her prowess of imbibing potential naive singing talents to the extreme by pitching out Deepak Kumar, a 15 year singing prodigy in this enchanting musical piece. Feel is refreshingly international but the treatment is very much "desi", a fine mix of amusing sounding lyrics and thriving electronica filled synth-beats that gives it a true soft-rock outlook, a composer's soundtrack all-together that is enriched with desired mixing and mastering.
"Tunya", an instrumental number, similar sounding to "Perpendicular (theme)", is a brief siren cum metal-punching sounding number. Bulbul Tarang with Baal Party delivers a tangy sharp brief instrumental work that primarily moves with bizarre sounds.
GOW II sums up with an enthralling note, a punch-line ("Keh Ke Loonga") of its prequel, getting aggravated and blasted with thumping electronica and trance filled fillers in impressive sounding "KKL". KKL, an abbreviation of "Keh Ke Loonga", is a typical horror-flick stylized haunting track, which has chaotic chorals getting looped in ballistic hard-metal base arrangements with a strong set of pungent electronic fillers, juxtaposing at intermittent places. Sneha Khanwalkar ends this blood-curdling action saga with a bang; a track that brings the all the negative and gray shades in this gruesome sounding number, a well-conceived situational score that has a desired substance to impress.
GOW II comes out as a creditable sequel to the much-acclaimed GANGS OF WASSEYPUR, an album that once again showcases the dexterity, potential and credibility of the composer. Sneha Khanwalkar succeeds once again with this album by delivering out set of tailor made vocal as well as instrumental numbers that works potentially. Despite having no great probable chartbusters in its credit listing, soundtracks like "Chhi Chha Ledar", "Kaala Rey" and "KKL" turns to be the most impressive of the lot while "Taar bijli" and "Moora" has notable situational appeal. On experimental front, Anurag Kashyap's aesthetics in pitching a bizarre pastoral feel has worked and has been suitably complemented by composer's Sneha Khanwalkar's honest efforts in both these albums.
Rating - 3/5
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