Big star cast, larger-than-life 70's fictional characters, garish costumes, ostentatiously loud set-designs, racy music with munificent budget to bring them together in one package. This is Farah Khan's world of cinema that has so far delivered two back-to-back hits MAIN HOON NA (2004) and OM SHANTI OM (2007) with this formula and is back again with another edge-of-seat thriller with 'tadka-mar-ke' entertainment in TEES MAAR KHAN.
Year 2010 has been superlative year for Vishal-Shekhar with three consecutive hit albums (I HATE LUV STORYS, ANJAANA ANJAANI and BREAK KE BAAD) that have catered primarily to the urbane listener's segment with quality entertainment. This time the composer duo will be gunning for universal audiences with predictable 'Bollywood' styles/genres of music as the flavor of this musical feast. In the past, both Farah Khan flicks have enjoyed bountiful musical success with couple of chartbusters soundtracks in its kitty. Does this 'con-man' special comic caper have sufficient thrills to set the pulse racing? Can Vishal-Shekhar end up this year with another hit to their credit? Let's be regular with our analysis and get plugged into its musical proceeding by pressing 'play' button...
Quirky and tunefully comical! The introduction of livewire 'con man' makes its multi-vociferous impact with Sonu Nigaam donning out 54 different voices in the title track 'Tees Maar Khan'. After experiencing Sanjay Leela Bhansali's genius with melodies in GUZAARISH, its editor-turned-director Shirish Kunder making impressive 'Bond-ish' tones as guest composer in this playfully composed soundtrack. It's a satirical melodic take on 'James Bond' signature tune with mixed and match of 70's and 80's Bollywood's musical notes and styles that gist out the character sketch of 'Tees Maar Khan'. Squeaky, electronically tuned with loads of comical sounds makes this one an artistically hilarious sounding number with Sonu Nigaam making trendsetting vocal presence as remarkable soloist by varying and modulating in all funny voices. The song comes out as 'comic-book' fiction perky background score that is presumed to be making its domineering presence at varied places in this 'masala-mar-ke' entertainer. This slapstick hilarious comical musical piece gets into dancing 'club-remix' grooves in 'Tees Maar Khan (remix)'. The bouncy disco beat fillers along with squeak sounds embroiled with signature tunes will be a great energy booster for flick's promotion and so do expect this version making louder presence in teasers and promos.
'Beedi Jailale' (OMKARA), 'Munni Badnam' (DABANGG) and now 'Sheila Ki Jawani'! Item songs galore and now are finding stronghold in filmdom and new fan base with already 'hot-news' in the form of 'Sheila Ki Jawani' making its extravagant presence. This Vishal-Shekhar composition has the 'qawwali' punch of 'Tum Se Milke' (MAIN HOON Na) with loud dosage of recurring and rhythmical drumming in setting decorum of garishly pitched 'eye-candy' item song. Sunidhi Chauhan's exorbitantly racy vocals roar to the extreme in the midst of flourishingly vibrant arrangements with stereotypically played 'harmonium' tones adding touches of bygone era. Farah Khan's choreographic intellect tries to make this 'east-meets-west' affair with Shakira's 'Hip's don't lie' meeting Laxmikant-Pyarelal's 'Jumma Chumma' (HUM) with a dash of Hollywood's CHICAGO on-stage dancing moves. The song has already become a rage and was 'newsmaker' for Katrina's multifarious avatars. Despite loads of energy and enthusiasm poured through animated sounds and beats, this Vishal-Shekar fails to be trendsetting or creatively amusing and sounds contemporary in all its musical moods. It's on-screen visual display will be striking more blows than it's audio exhibit but still it carries ample dosage of feisty entertainment for floors.
'Sheila Ki Jawani (remix)' brings on hip-hop emceeing and loads of 'club-remix' DJ' antics and paces up proceedings with its loud freaky rhythmical sounds and grooves. It's highly pulsating and energizing and is likely to be the appreciating factor in catalyzing 'glam-quotient' of this action-packed thriller.
Farah Khan makes it clear that 'qawwali' is the flavor of this album and adds its glitzy decorum and volubly energetic tones in this third soundtrack titled 'Wallah Re Wallah'. Vishal-Shekhar risks themselves this time by trying to rejuvenate this forgotten genre of Indian classical music with inspirational takes from renowned 50's and 60's 'qawwalis'. It tries to bring out the fervor of 'Yeh Ishq Ishq Hai' (BARSAAT KI RAAT -1960) with upbeat spicy inputs of 'Kajra Re' (BUNTY AUR BABLI) in the voices of Shekhar, Shreya Ghoshal, Raja Hassan and Kamal Khan. This 'qawalli' sticks to its traditional roots and works on linguistically refined Urdu verses and wordings (lyrics-Anvita Dutt Guptan) rather than trying anything frivolously chirpy in its offerings. Once again, this colorfully lavish soundtrack prospects lies heavily on its on-screen visual display with great star-power (Salman Khan in guest appearance) adding positive vibes to its commercial viability.
'Wallah Re Wallah (remix)' breaks the traditional mood and sets the dance floor moving with thriving disco beat fillers adding jives in this customary sounding composition. It's a routine and contemporary 'club-remix' work and is fitted well in the credits of the album.
'Omkara' (OMKARA), 'Udd Udd Dabangg' (DABANGG) and now 'Badey Dilwala'! Sukhwinder Singh's tribal folklore style of singing depicting the traits of lead protagonist has been style-statement for years now and once again it pounces back with similar zest in 'Badey Dilwala'. This Anvita Dutt Guptan's written track is chirpiest and wittiest of the lot and amuses with funky one-liners ('Do agan mein, hum pagal mein, Dil sambhal ke hai girta, Aise bal kya, possible hain, Deep trouble mein dil padta, Kya muscle hai, ke masal ke dil phisil kar hai marr ta...') that adds shades to the described lead character. Shreya Ghoshal's wobbly 'n' grumbling tones in the earlier phase are highly entertaining and carry the fervor to last interludes where she modulates into svelte tones with extra zeal. Despite predictable Sukhwinder's folksy histrionics, its Shreya's feminine fetish tones that steals the highlight and makes it the most hilariously pulsating soundtrack of the album. For its extreme zing tones and trendy arrangements settings, it deserves a buoyant promotion and promises colorful big screen endeavors for audiences to enjoy.
'Badey Dilwala (remix)' brings on party album mood with accelerated tempo, beat juggles and DJ spins getting into jovial tempo of the soundtrack. Like many enjoyable 'club-remixes', it entertains with sufficient pep-fizz with its thriving beat-structure and gives enough 'masti' to be enjoyed on dance floors.
Down the memory lane in 2005, Vishal-Shekhar composed a delightful number 'Happy Diwali' (HOME DELIVERY) that got rave reviews but could not grab major attention. The similar sounding optimistically festive spirit returns back with a bunch of upcoming TV reality show singing stars in the average sounding 'Happy Ending'. Farah Khan has been benevolent enough to give singing platform to talents like Abhijeet Sawant, Prajakta Shukre and Harshit Saxsena in this 'happy-go-luck' ending titles track. The bagpiper sounding rhythmical tunes in the prelude sounds like salutations to all proceedings, wishing everybody good luck and prosperity and bring down curtains to the show with age-old caption of 'THE END' as the last shot of this comical caper. It's a typical Farah Khan's situational song (similar to 'Deewangee' -OM SHANTI OM) that tries to collage out every element, person and character of the flick in one single frame. Nothing great to describe on melodic front, still a likable offering that should give lighter moments in the ending stages of the flick.
TEES MAAR KHAN is a joyride that promises cheerful entertainment in its every soundtrack. Vishal-Shekhar's music satiates with amusing numbers with 'qawwali' being the flavor of the album in two of its scintillating looking soundtrack. As far as commercial viability is concerned, soundtracks like 'Sheila Ki Jawaani' and 'Tees Maar Khan' are likely to be hot favorites and has already created buzz for the film. 'Badey Dilwala' is indeed a surprise package while 'Wallah Re Wallah' and 'Happy Ending' will be there to follow. After delivering out three musical hits in 2010, Vishal-Shekhar ends it with style and the added benefit of big star value, munificent promotion and bankable concept will be there to catalyze commercial prospects of this album.