TUM MILO TOH SAHI, a docile multiplex entertainer falls in this cadre of 'feel-good' realistic cinema and brings the pairing of Dimple Kapadia and Nana Patekar in the lead roles. This actor turned director Kabir Sadanand directed flick pitches three different generations of characters, carrying varied shades of love, emotions and compassion. Low profile, minimal expectations and mild promotions have always been roadblocks for this genre of films but melodious music have always made them sparkle. Sandesh Shandilya along with eminent lyricist Irshad Kaamil, gets this 'hard-nut' to crack to make things sparkling for this 'human-relationship' special flick. Can they do it in style? Can we expect TUM MILO TOH SAHI to be surprise package in its segment? To answer, let's say 'tum sunoh to sahi' to analyze the musical facts...
Anything can happen over a cup of Coffee! Now that sort of frisky and lighthearted youthful sentiments get sprayed in Shaan's soothing baritones in the title track 'TUM MILO TOH SAHI'. It goes downhill into memories of Shaan's Indi-Pop days with subtle soft rock arrangements with dash of jazz taking over the groove. Sandesh Shandilya's peppy sounding composition sounds too weak in present context to evoke romanticism but still appreciates the pep-factor in the album. Even Irshad Kamil's jocularly exuded wordings prove too insufficient to raise its prospects. Finally there is some quality singing by dependable Shaan that can be relished but won't be adding any big merits to his impressive listing of hit tracks.
Raghav Sachar takes second bow in glorifying the title of the flick by setting mood into tizzy with rapturous pop disco beat flavors in hip-shaking 'O Jaanemann'. It sounds more of a dance-party feast number with extra-enthused disco-beat fillers added to pump out discotheque feel. Shandilya's lackluster display continues with extra jarring sounds of drumming and routine guitar, saxophone works, giving it an outmoded look.
The subtlety of romantic expressions takes a mature route with modernized 'ghazal-gayaki' in mellowed instrumental textures in average sounding 'Bekhauf Mohabbat'. Kunal Ganjawala's oozing voice comes in lower octaves with mild blend of soft rock cum jazz in the backdrop. The added dollops of sensuous feminine chorals and intermittently exhibited saxophones notes are exuded well but fail again to make this an impressive ballad. Shandilya's fusion melody proves to be big disappointment for Kamil's prosaic lyrical works and together it comes out as filler for the romantic situation.
The motivational outburst of 'never-say-die' spirit and endearing impossible (similar in feel to 'Chale Chalo' (LAGAAN -2001) makes fervent impression in impressive sounding 'Chal Haath Mila'. This time the upbeat arrangements form a rhythmical graph with instrumentals finding amicable concoction with vocals and lyrics. Sukhwinder Singh's throaty voice empowers the emotions with meaningful verses ('Jahan apni marzi se jeena koi ghor zurm kehlata hai, Wahan banda bande se milke lalach ka raaj hattaata hai...') with rigorous drumming, percussive elements adding to the belligerent feel. This number fuels up and add few sparks to the narrative flows and should be positive add in the compelling moments of the film.
To add modernity with sensuality, there is upbeat Latino dancing feast treat coming in vocal oomph of Dominique Cerejo in fast-paced 'Loot'. It bears 'heard-before' syndrome with routine sounding arrangements carrying out the dancing thrive of the track. Dominique's oozing voice has that seductive feel to allure but the composition disappoints with its loud saxophone notes meddling out with distorted guitar riffs, syth sounds in loud tones.
Sandesh Shandilya takes inspiration lift from Michael Jackson's super-hit track 'Bad' and collages it with 'desi-beat' fervent displays to exude out average sounding dancing track in the form of 'I am Bad'. Sunidhi Chauhan's initial splurge with English lyrics brings MJ's feel in the prelude but later predictable sounding pop-cum 'bhangra' arrangements makes it an ordinary affair. Kunal Ganjawala's tries hard in his boyish feel to give it 'campus-caper' outlook but it ends up as another situational sounding track with feeble impact.
TUM MILO TOH SAHI is an ordinary musical affair with no soundtrack having chartbusting or engaging feel in it. Sandesh Shandilya's average compositions prove too meek in comparison to his previous impressive works and disappoints completely. Like its low profile and zilch expectations, music too falls flat with an exception of Sukhwinder Singh's 'Chal Haath Mila', adding some honors to the credits.