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Director :
Music :
Lyrics :
Starring : |
Satish Kaushik
Himesh Reshammiya
Sameer
Shahid Kapoor, Kareena Kapoor, Aarti Chhabria, Satish Shah, Delnaaz Paul and Kirron Kher
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By Satyajit, Bollywood Trade News Network
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MILENGE MILENGE, a romantic popcorn entertainer finally makes its way to the theatres. It's been ages that this flick was in news for all good and bad reasons. Fuelled by the hot chemistry of once off-screen pair Shahid-Kareena, it has the back-up support of director Satish Kaushik and composer Himesh Reshammiya, who made news for their super-hit TERE NAAM (2003). Going by the musical records, all Shahid-Kareena entertainers FIDA (2004), 36 CHINA TOWN (2006) and JAB WE MET (2007) had been blazing chartbusting success in the past and so expectations are likely to be soaring high. To grab the listener's attention, the album has both style of Himesh's composing that made him maverick-cum-icon in the marquee. It would be interesting to view the performance of this Shahid-Kareena starrer, as all their previous entertainer were big rage among listeners. So let's get started for a lively romantic musical show...
Himesh Reshammiya catapults fervor of his Sufi-rock mania in the opening soundtrack "Kuch to Baaki Hai", an intensely vociferous number about the overtly stressed love-relationship. It's modest and classical in its composition with strong impacts of instrumentals like "harmonium", "tabla" and "sarangi" works that are matched in tandem with electronically tuned rhythms. Sameer's lucid wording deserves a special mention ("Kahin to kasak aisi dil mein baaki hai, Teri aadat choot ti nahin, Ummeed aisi hai jo toot ti nahin...) that talks in prosaic form about the hope and desperation of reviving old relationship. It's sad and melodramatic in its tonality that is accentuated well with classical "alaaps". Himesh excels as vocalist in his controlled rendition that is varied and louder at places and delivers out the right emotions at right places.
"Kuch to Baaki Hai (bright mix) is mood reliever and breaks loose from morose ambience and plunges into disco-mania with its vibrancy in electrified DJ spins and beat-juggles. It's enthralling in its presentation and should be added feast in DJ's collections that is followed by another remix version.
"Kuch to Baaki Hai (dark mix)" brings out "club-house" remixes type of mania with louder beat patterned DJ claps, scratches that are matched with the Sufi-rock binge to deliver out another entertaining feast for the floors. This highly publicized number can be one bright musical spot in catalyzing out the narrative flows of the flick and is one of finest melancholic tracks by Himesh Reshammiya in recent times.
Intimidating and enchanting in its signature tunes, Himesh relives his successful phase of tracks like "Sanam Mere Humraaz" HUMRAAZ (2002) that had intrigue embroiled in romance in the title track "Milenge Milenge". Soothing in tonality and smoothening in vocals, Himesh softens his vocal chords to perfection and oozes subtlety of emotions in this enchanting piece of duet track. Undoubtedly, this is the finest composition of the album with tender piano notes, tangy guitar riffs, and English back-up vocals clubbed well with percussion to usher out amiable love track. Shreya Ghoshal's feminine inception in demure rendition adds to the melancholic shades of this lovable hearing soundtrack. Like the title tracks of TERE NAAM (2003) and HUMRAAZ (2004), it's another encouraging melodic move by Himesh in title track cadre that will have positive vibes in the storytelling or in titles of the flick.
The second version is the female version that gets triggered with Jayesh Gandhi's sung prelude about destiny ruling the lives of lovers in mild tempo. Alka Yagnik makes resilient appearance and flexes her vocals in modulating tones to gist out varied shades of meeting beloved against all odds. Despite its decade old melodic impact, both versions make the maximum impact on ears and serenades out a flowery "feel-good" factor appeal. It's for all those who have relished Himesh's old style of composing that made him prominent figure in the musical arena.
Unraveling back to days when Himesh's composed syrupy duets for Salman flicks made news, the next track "Tum Chain Ho" belongs to this genre and goes out especially for Sonu Nigam's fans. This duet is composed primarily in format of "ghazal-gayaki" with added elements of English back-up vocals (Suzanne D'Mello) with strong tinge of "sarangi-tabla" loops at intermittent stages of the track. Like "Milenge Milenge", this one too bears outmoded outlook but has quality display of immaculate vocals, amicable orchestrations and decent wordings that can offer enough space for love-birds on silver screen. Once again, it's the formidable Alka Yagnik behind the mike as likable partner but its all together Sonu Nigam's special number in lighter sentimental moods. The infused English wordings fail to evoke modernity but overall it works as above average situational duet.
For all Sonu Nigam's enthusiastic fans, the show enters into its second version that comes in "unplugged" version by Vineet Singh (sounding similar to Sonu Nigam) with support of nimble-touched guitar riffs and strumming in "Tum Chain Ho (unplugged)". It's a congenial solo singing effort that has extra sentimental edges in lighter tones and should be doing honor as affable background score for the flick.
Old days are again revisited again with archetypical Bollywood's "qawalli" stylized track that makes sufficient melodramatic moves in situational sounding "Ishq Ki Galli". Rahat Fateh Ali Khan along with Jayesh Gandhi sings out this track that has strong Nadeem-Shravan influence and orchestral styling of composing. For ages, this type of melancholic "qawallis" have been doing honor in the compelling situations of mushy romantic films. The composition has late 90's feel with melody reminding of Himesh's earlier composed tracks. If arrived in early 2000's, it would be been more commercial viable offering but now sounds too outdated with Sufism taking over this genre and styling. Its Punjabi flavored remix version in "Ishq Ki Galli (remix)" caters to urbane listeners but still nothing too bombastic to offer in its three minutes plus duration.
The musical success of TERE NAAM (2003) has its prize winners and that primarily includes the likes of dependable Udit Narayan and pleasing Alka Yagnik. The last original soundtrack "Hare Kaanch Ki Chudiyan" by Alka Yagnik belongs to this musical era when modest sounding melodies ruled the show. If "Man Basia" (TERE NAAM) was sweetly timed prayer (about Radha-Shyam) then this track adds festive feel to it with traditional musical touches. Like "Man Basia", "Tere Naam" and "Odhni" (TERE NAAM), this one is too energized by talented Alka Yagnik in her brightest tones that not only entertains but also enthralls. It's pity that the over-delayed of the album and change in musical moods will be offering minimal results to this track. Sameer's lyrics have traditional colorful shades but its Alka Yagnik's vibrancy in varying singing shades that domineers the entire track.
MILENGE MILENGE suffers heavily for its over-delayed musical release and has mixed bag of Himesh Reshammiya's old and new style of composed soundtracks. The album has its promises in "Kuch to Baaki Hai" and "Milenge Milenge" while "Hare Kaanch Ki Chudiyan" and "Tum Chain Ho" impresses with its quality singing exhibits. It revives old era of Himesh Reshammiya as musical composer to large extent but fails to create any major splashes. The much awaited communion of Shahid-Kareena will be major highlight that will be doing great help in promoting its music but still will not able to match success standards of their earlier releases like FIDA (2004), 36 CHINATOWN (2006) or JAB WE MET (2007).
Rating : 3/5
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