Case Reopens...Again!!! Jessica Lall high-profile murder case was one daunting chapter that raised many questions on the fidelity of Indian judiciary system and its loopholes, alarming concern of masses and spontaneous response of media over this issue. The delayed but justified judgment, changing statements of eye-witness and expose on the malfunctions of judiciary were the main social concerns that later grabbed the headlines. Director Rajkumar Gupta took a bold stand in picking up tits bits of all eventful happening and placing them together in the format of thought-provoking parallel cinema through this film. Music...??? Difficult and different by all standards, it comes through the mindset of the composer who grabbed attention for his quality works in highly acclaimed films like DEV.D (2009), AAMIR (2009) and UDAAN (2010). Amit Trivedi's mettle of delivering theme-oriented soundtracks is again at the helm of affairs and so expectations of hearing classy works are high. With the ground support of chirpy-wording specialist like Amitabh Bhattacharya as its influential lyricist, the album gives its best to "reopen" this important chapter that proved to be an eye-opener for the entire Indian society. Can Amit Trivedi deliver the quality that he has promised in all his earlier works? Will this be a melodic treat for listeners who crave for soul and substance in Bollywood musical albums? Let's take a bon-voyage to all those eventful happenings through this album...
Jitters...shiver!!! Chilly winters and spine-chilling intimidating happenings bring shivers and raises adrenaline in belligerently thumped and thematically composed soundtrack "Dilli". Amit Trivedi's horrifying sounding composition is like hard-hitting background score that entails all the petrifying unexpected occurrences with all the concerned characters of the film. It's a comprehensibly narrative musical piece that initiates with jittery rendition by Aditi Singh Sharma, exuding out chilly December of 1999 of "Dilli" (referring to Delhi), where the controversial event of Jessica Lall's murder took place. This volatile sounding number has vociferous folksy baritones of Tochi Raina and Shriram Iyer, narrating out the ire of situation in rock-anthem stylized way. It has Punjabi fusion type of arrangements (similar to "Jugni" -OYE LUCKY LUCKY OYE) that brings out the "Dilli" urbane feel with rustic sounding lyrics. Trivedi piles out an impressive background score that will be catalyzing out the "edge-of-the-seat" thriller feel in the compelling situations of the film.
"Dilli (hardcore)" comes out as the second version with slightly "club-remix" touches, an added flamboyance that might fuel out the presence of this hard-hitting film in the marquee. It's again an added narrative element that should create awareness for the film in the promos and teasers.
Rani Mukherjee's aggressively loud-mouthed portrayal of an outspoken journalist comes in screechy chorals with a set of offensive synonyms correlating to her shades of gray character in "Aali Re". The song has got all limelight for wrong reasons (Rani showing middle finger, using cuss-words etc) in its promos and teasers and later flick getting hyped in almost major media circuits. Trivedi's boisterously voiced composition brings out brigade of singers (Aditi Singh Sharma, Anushka Manchanda, Biswasjit Chakraborty, Raja Hasan, Shriram Iyer, Sonika Sharma and Sonu Kakkar), yelling, contorting and chanting out the lead protagonist in the most aggressive singing way. In the first few hears, it sounds too irritating (Dhinchak dhinchak, Rapa rap, rak chik rak chik dhinchak ...) and later has offensively verses ("Yeh thodi si kameeni, thodi namkeeni, Thodi si nasheeli, thodi zehreeli hai...) to serenade out the uncharacteristically "filmi" shades of Rani's central character. Amitabh Bhattacharya's cheesy wordings may be bit displeasing for regular listeners but works mechanically as haughtily pitched background score for the film.
After showing zeal for uncharacteristically vibrant songs in DEV.D, Amit Trivedi's aesthetics pitches another unusual sounding trendy song that shows the breaching out of trust in melodically wild ways in "Aitbaar". It reaffirms the fact that this is "background score specialist" album where songs come moreover like "voice-over" for the situations or characters in most uncharacteristic manner.
Vishal Dadlani's gruffly modulating and Mame Khan's earthen vocals with tinge of Robert Omulo's emceeing mixes well in the whirlpool of "club-remix" style of party-feasting arrangements where the series of untoward events gets accentuated with brazen sounding lyrics. Bhattacharya's razor-sharpen wordings connects well to the abhorrence, disgust and injustice that surmounts the lives of the leading characters. It's up to the directorial excellence of director Rajkumar Gupta to get the maximum out of this racy and crazy sounding composition to create the desired melodramatic feel for the big screen.
Mournful, calm and serene candle-light procession type of prayer comes and changes the decorum with its pacifying heeling touches to deliver out soul-stirring soundtrack in "Dua". Amit Trivedi's dexterity with tender piano drilling as interludes is appealing (similar to "Dil Mein Jaagi" -DEV D) and connects expressively with mesmerizing feminine tones of Meenal Jain. It's indeed solace for ears to hear mellifluously pristine flows of Meenal's voice that echoes the appeasing tonality of the somber situation. The feel of togetherness comes in unison of vocal flows of Raman Mahadevan, Joi Barua and Amitabh Bhattacharya and proves to be soul-enchanting choral support to the track. This beautiful melody completely belongs to Meenal Jain's tranquil-paced rendition and gives it a thought-provoking feel for listeners to feel in the climax stages of the film. The composer triumphs again to deliver out a notable situational soundtrack with quality display of works from almost every department.
Despite giving mushy moments in a couple of chartbusting romantic tracks in recent times, Shilpa Rao's deeply throated voice had made remarkable presence to add soul to the substance. After exuding out life in meaningfully composed track like "Ek Lau" (AAMIR -2008), Trivedi's conglomerate with the singer supreme again and delivers out a gem of a performance with similar serene sounding decorum of arrangements in meticulously composed "Ek Pal". The song comes as an assortment of variedly pitched instrumental flows where different shades of characterizations gleam out, exuding their fluctuating fortunes through changing tempos of the track. From the dark haunting petrifying feel to calm soothing tones, and thereafter the belligerent hard-metal rock hues, the song comes out as a typical theatrically penned melodramatic musical piece that adds substance yet again to the tense moments of this socially relevant saga.
NO ONE KILLED JESSICA has that desired "killer-instinct" feel in its overall melodic displays that should do wonders for it's on-screen happenings. The soundtracks belong to the genre of "background score" and primarily work for all dark and compelling moments of the film. Amit Trivedi's prowess works again and delivers some quality works in "Dua" and "Ek Pal", while situational songs like "Aali Re", "Aitbaar" and "Dilli" glorifies the various blood-curdling situations of the film. For its immensely theatrically profound dark-display and no blemishes of mediocrity, the album will attract classes and will grow bigger on masses with flick's promotion and box-office success. Wait till the "Case Reopens" again in theatres....