Salim Merchant and Sulaiman Merchant
Irfan Siddique, Asif Ali Beg and Ajinkya Iyer
Amitabh Bachchan, Sir Ben Kingsley, R Madhavan, Raima Sen, Dhruv Ganesh, Siddharth Kher, Vaibhav Talwar, Saira Mohan and Sharadha Kapoor
In a materialistic world, money won is twice as sweeter as earned and therefore gambling is fancied internationally in different formats and styles. It takes its toll on B-town with style as Amitabh Bachchan and Ben Kingsley, leading thespians of two filmdoms leads this gambling 'n' grilling 'edge-of-the-seat' thrilling entertainer. The dark noir feel, deceitful escapades, changing fortunes, enthralling chases and beguiling mesmeric appeal sets the stage for a pack of haunting background scores. Salim-Suleiman, the proficient duo in sound engineering antics have the panache of creating the intimidating feel with varied tempos, timbre and sounds. Can their tuneful arithmetic of getting the desired rhythmical turbulence at intermittently dramatic phases be an added factor to make this 'poker-game' (TEEN PATTI) adventure, a visual spectacle? No big hopes, as these thriller demands more of daunting background scores than melodic treat on their platter. Let's be straight on their table and watches this game where music supports the 'killer' feel of this enticing 'n' thrilling extravaganza...
Voluptuous in movements, illusory in intentions and archetypically jazzy in tones, Sunidhi's racy voice streams out with volatile flows in 'Neeyat Kharab Hai'. Like seductively crooned 'Kaisi Paheli Zindagi' (PARINEETA), this is another ace up on sleeve for the songstress that has 60's smoothening jazz appeal. It has serpentine flowing accordion as pertinent hook-line that is clubbed in sluggish tonal textures of soft drums, trumpets and horns to create out sensuous bygone era appeal. Irshad Siddique's lyrics are plainly subjective in this quivering sensuous track that adds one more credible leaf in Sundhi's notable toils.
Abhijit Vaghani's DJ shaky moves mixes disco hip-hop grooves in its 'remix' version that works highly on energized beat-juggles than on jazz maneuvers. The vocal thump is mitigated up and down but the flashy disco beat buzz rules out in varying tempo. This highly promoted track with its lustrous feminine cum star value adds glamour and exudes out desired ammunition for the promotional buzz.
Salim-Suleiman shifts their mood as well as genre to impulsive rock-beat arrangements in impressive sounding 'Intezar Mein Chupa Kahi'. Naresh Kamath makes notable moves in his booming baritones that collage affably with stringed electric guitar riffs and electrifying percussions to give it 'rock-concert' outrage. For its philosophically woven lyrics, matched with racy rock-metal outrage, it sets up space for enthralling background score. Naresh's inspiring vocals in modulating tones works well and so do Pritam's stylized 'rock-concert' feel that lifts up the mood to dizzy high.
'Intezar Mein Chupa Kahi (remix)' works sporadically as promotional feature track with all accelerated tempos and sounds mixing well with racy rock-beats to create furor. For all rock lovers, this one is added treat but still not the finest in its league to create stir.
Situational to the core! The technocratic duo makes modest moves by sticking to the subject completely and delivering out average title track 'Teen Patti Ke Ghulam'. It primarily works on its simple narrative lyrics that describe the shady playful acts of 'Teen Patti' (poker game) with profound electronic beat arrangements. Salim Merchant sings out this situational average number that will be thrust for narrative flows as background score.
It's upbeat and strikingly rich in disco beat filler 'remix' version is the most enticing of party freaks. The remixing, scratching clubbed with beat juggling at intermittent intervals are well packed to deliver out rollicking feel. This hot-headed 'remix' can be gunned as effective promotional feature before its release on theatres.
Like thematically verbal and hauntingly dark 'Soliloqi' (AANKHEN -2002), Amitabh Bachchan lends his deep-throated baritones in describing the arithmetically dangerous game of 'Teen Patti' in theatrically upbeat style in 'Life is a Game'. It is loaded with tangy English lyrics (Asif Ali Beig) explaining out the tricks of the game, equations of losing and winning. Presumed to be fitted for beginning or end titles, Sonia Saigal's screechy cum seductive voice emotes loud and high in routine sounding electronic beat rhythmical patterns.
The second version comes in convincingly Hindi verbatim where Anoushka Manchanda joins Sonia Saigal to deliver out audible engrossing wordings. This Irfan Siddiqui's meticulously written version sounds more relevant but sounds similar in dark edgy rhythmical textures to Tina Turner sung 'Golden Eye' (title track of James Bond's GOLDEN EYE). This is again feverishly loud background score that will be drawing listeners more to visuals than to its melodic appeal.
To lure international hoi polloi, the last outing comes in Latino blues melodic works with Joe Alvares's breezy vocal tones serenading out the enticing ambience in 'Summertime'. Tantalizing rhythmical electric guitar blues riffs works are the soothing highlight with modest synths and keys adding to the mushy moods and giving out another decent-hear background score work.
TEEN PATTI plays its cards safely by sticking to the subject with bunch of alluring 'n' relevant sounding background scores. Salim-Suleiman's work is strictly situational and suits to the mood of the flick with no big surprises. Among all the soundtracks, 'Neeyat Kharab Hai' stands out as the tallest while 'Intezar Mein Chupa Kahi', 'Life is a Game' and 'Teen Patti Ka Ghulam' are easy-to-hear scores. The favorable rolling of dices on D-day for TEEN PATTI at the box-office will be of great support to its audio sales prospects but nothing spectacular to be compared with present day bestsellers.