After the mediocre success of BAL GANESH, SHEMAROO films are all set for one of this year biggest animation warfare GHATOTHKACH - THE MASTER OF MAGIC that promises multi-dimensional entertainment in seven different languages. Singeetam Srinivasa Rao, leading South Indian film personality who has carved niche for experimental cinema has bundles of success to his kitty with films like with PUSHPAK (silent film), LITTLE JOHN (comical-fiction), APPU RAJA (tall-dwarf thriller) SON OF ALLADIN (animation film), directs as well as composes for this film. The album progresses appreciably with contemporary vocal talents singing their way out these fine set of tantalizing animated musical endeavors.
Master Shravan Iyer, the prominent sounding whiz-kid singing talent popular in animation flicks comes out in autobiographical melodic singing mode about wonder-kid "Ghatothkach" in simplistically ushered title track "Main Hoon Ghatothkach". This cherubic kindergarten melodic work is composed in contemporary nursery-rhyme format with moderately paced orchestrations. Sudesh Bhonsle turns sonorously throaty for the "adult" version signifying the grandiloquent physical appearance of mighty "Ghatothkach". This lively paced track is best suited for child-audiences if it matches the skills and gestures of well-anticipated brilliant animation.
GHATOTHKACH is presumed to be animated version of one of Singeetam's most coveted work MAYABAZAAR and this inspirational lift get sufficient brainwave for boisterously paced Daler Mehndi's vocals in playful sounding "Mayabazaar". Sameer's scrumptiously hilarious wordings scripts out multi-cuisine food-specialties in humorous punches that are supposed to evoke heavy dosages of laughter in its animation display. Earlier Daler had similar loud cherubic outing in "Aasman Ko Chukar" (RETURN OF HANUMAN) with acceptable results and this too works well with feel of the situation.
"Angalik Banglik...Jadu Hai", the most scintillating "kid-loving" spark comes all the way with innovatory technical musical works in tittering, giggling and animated sounds and voices. Singeetam's shows finesse for this "magical" show where peculiar voices of different sounding animals strike equilibrium with peppy composition and pleasing vocals. Master Shravan Iyer makes another appreciable move by ushering out these playful merriments and do enjoy different sounding chirpy animal voices making their multi-colored display in its animation exhibit.
Sudesh Bhonsle's "mimicry" acts makes its way into popular vocal impersonations along with coarsely sounding Sunidhi Chauhan in hilariously conceptualized romantic track "Aaana Aaja Na". Sameer's quizzically penned verses delivers humorous blows in midst of "topsy-turvy" synchronized orchestral flows. Singeetam's musical aesthetics are rightfully sumptuous for its hilariously animated arrangements that should find it ways in appreciable animation.
Romance!!! This seems to be last word in fun loving kid-entertainer but do expect some lovey-dovey moments of old-fashioned sounding romance in pleasant sounding "Main Yaahan Tu Wahaan". It brings back bygone era of 60's where one could hear similar compositions that showcased romanticism in Kishore Kumar sung and acted songs. Shaan and Shreya Ghoshal's brilliant voice quality is finely exhibited but outmoded arrangements of 60's may be bit dicey to experiment.
Vocal expertise of eminent S.P. Balasubramaniam makes its rowdy and thunderous "monstrous" vocal moves in signifying the never-ending voracity of mighty "Ghatothkach" in extra thrilling "Sajaa Hai Bhojnalay". Sameer's quizzically penned are well animated with "army march" stylized orchestrations in making it a colorful coordinated visual affair.
"Natnagar Ki Saari Leela", a narrative soundtrack about the adventures of Lord Krishna comes out as the only mythological soundtrack with old-fashioned traditional arrangements. Mahalaxmi Iyer's subtle vocal comes out as routine affair signifying the traditional parables about the life and works of the deity.
Singeetam Srinivasa Rao's composed GHATOTHKACH comes out as decent sounding affair for child-audiences with tracks promising to match the austerity, pomposity and frolics of the animated subject. It can't be compared to Tapas Relia's finest effort in HANUMAN but scores better than its contemporaries like BAL GANESH.
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