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Director :
Music :
Lyrics :
Starring : |
Siddharth P.Malhotra
Shankar Mahadevan, Ehsaan Noorani, Loy Mendonca
Irshad Kamil and Anvita Dutt Guptan
Arjun Rampal, Kajol, Kareena Kapoor, Aanchal Munjal, Nominath Ginsburg and Diya Sonecha
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By Satyajit, Bollywood Trade News Network
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Can two mothers make a home? Sounds complicated!!! Despite some sincere efforts in the past, complicated extra-marital affairs haven't found its way into hearts of Indian audience. After getting mixed response in KABHI ALVIDA NA KEHNA, filmmaker Karan Johar makes another bold and experimental move by officially inspiring Hollywood's STEPMOM into his next venture WE ARE FAMILY. Like all his previous emotionally enriched family sagas, it has the backdrop of America, support of Kajol's acting skills and music from his favorites Shankar Ehsaan Loy (S-E-L). No reasons to doubt, the music of KJo flicks have always been soulful, meaningful and has always been first choice among pop-genre listeners. As far as expectations from music are concerned, it creates an obvious buzz for this flick and makes this among one of the most baited breath albums of this season. Can we expect S-E-L to deliver out another prize-worthy asset for listeners as they did in KAL HO NA HO, KABHI ALVIDA NA KEHNA and MY NAME IS KHAN? Does the grandeur and blue-chip worth of DHARMA PRODUCTIONS in musical successes live up to its expectations in WE ARE FAMILY? We are plugged to find its musical facts, so let's get started...
"Ankhon Mein Neendein", a "feel-together" family song is a conventional S-E-L type of melody that has been gel-factor in fostering tender moments in KJo's previous flicks. Shreya Ghoshal's sliding supple "alaap" in semi-classical mode with breezing tones is its highlights that collage well with Rahat Fateh Ali Khan's pensive-mood singing. Irshad Kamil's wordings don't transpire anything phenomenal and plays to the situation. The comforting and awe-inspiring chorals plus rigorous "alaaps" try to exude "feel-good" ambience but its all together quality singing that takes the major share in the soundtrack. It will be lavish "n" landscaped looking theatrics that will do all the talking as song qualifies to be another above-average melody from the reliable triumvirate.
Bow to Elvis Presley! In an era where sophistication, innovation and improvisation rules, his everlasting rock number "Jailhouse Rock" still founds big inspiration among filmmakers worldwide. It makes no surprises for his fans when loud baritones, yells and screeches of "Dil Khol Ke Let's Rock" hit the deck. As far as composition and arrangements are concerned, S-E-L religiously stick to Elvis's super-hit track in this official adaptation and try to embroil it with wishy-washy wordings ("Mujhe nahi pata main kya gaaungi, Ulte seedhay lafzon se banaungi...) with average results. The pep-factor and spunk is relatively lower and doesn't create sufficient buzz to make any sort of style statement. It has Indi-Pop vocal thump of Anushka Manchandani, Akriti Kakkar and Suraj Jagan that doesn't connect well in splurge of Irshad Kamil's routine lyrics. Disappointing!!!
"Noor-E-Khuda" (MY NAME IS KHAN -2009) had Sufi divinity mesmerized in contemporary rock-musical flavors. What follows next is "Reham-O-Karam"? It sounds like song sequel to "Noor-E-Khuda" and works with similar rhythm-divine tonality that impresses to the hilt. Shankar Mahadevan and Vishal Dadlani's smoothened up voices sing together in format of prayer, with strong inputs of heavy-duty distorted electric guitar riffs and thumping percussions in its backdrop. S-E-L's innovation in putting elements of modernity into it works progressively and the modish impact of "church-choir" type of chorals, add to the pathos. Irshad Kamil's sensitively penned wordings are the finest in album and give it spells of narrative edges. Proposed to be effectual and appealing background score, it works for those compelling moments that are likely to be playing significant in the melodramatic phases. Impressive!!!
Contemporary American stylized feel of upbeat family-entertainer "original soundtrack" comes with graciously empowered westernized orchestrations in delectably composed "Hamesha n Forever". Tender piano drills in the prelude are comforting as the soundtrack shapes into mold of hummable sounding "church-choir" with soulful vocals delivering out in rhythmically tender pace. Sonu Nigam, the soul-factor in almost every KJo flick, is in great form again, as his willowy vocalizations permeate into contours of the serenity of the track with great aplomb. Shreya Ghosal's feminine demureness is at par with Sonu's tenacity and strikes a poise of trendy sentimental soundtrack. Irshad Kamil's heartrending lyrical flows have lucid wordings that are in sync with serene piano based signature tunes and evoke pathos.
S-E-L have thought extraordinary about "Hamesha n Forever" as they have rechristened its signature tunes and tonality in to two more original soundtracks – "We are Family (theme)" and "Sun Le Dua Aasman (theme slow version)".
Bela Shende's demure voice comes in almost unplugged arrangements and exudes similar over-sappy emotions of "Hamesha n Forever" in "Sun Le Dua Yeh Aasman". It works on supple signature tunes bearing out a typical KJo's stamp in its duration. It's again "nothing so special" piece and works with the situational feel of the flick.
"We Are Family (theme)" is a captivating theme-oriented instrumental work that carries all consequential instrumental sounds, exhibiting out varied circumstances and emotions. Its prime highlights are synchronized tender piano drills that are in sync with flute notes and violin chorals. It imbues pathos and congeniality but is shades similar to KJo's earlier hi-profile family sagas.
WE ARE FAMILY is an above-average album and works primarily with its set of theme-centric sentimental soundtracks. As far as its comparison with composer's earlier attributes to coveted banner is concerned, it fairs low in all aspects and relies heavily on flick's promising box-office success. Its bright spots are in soundtracks like "Aankhon Mein Neendein", "Hamesha n Forever" and "Reham-O-Karam" but again the impulse is not stupendously high that can conferred them as probable chartbusters. The album loses its steam in its only fun-filled track "Dil Khol Ke Let's Rock" while the rest two numbers are strictly for background score needs.
Rating - 2.5/5
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