Despite being luminary in South Indian cinema, maestro Ilaiyaraja, a prodigy hasn't been success story in Hindi cinema with two consequential breakthroughs SADMA (1983) and ANJALI (1990) to his credits in all these years. Ironically speaking, both these flicks had child mental disability as its subject and almost after two decades, he composes for PAA, flick carrying Big B in child caricatured character. Despite low phases (SHIVA -2006), (MUMBAI EXPRESS -2005), he showed power of his genius in R. Balki's unconventional romantic comedy CHEENI KUM (2007) with a couple of cheeky "n" cherubic melodious compositions. He is back again with R Balki's path-breaking social entertainer PAA. The flick got attention-grabbing with Big B donning peculiar bald look to play child character suffering from "progeria" (premature aging) syndrome.
It made news for its international standards in costumes and make-up and the highlight of the show was combo of two Bachchan's together again. Sixty seven year old Amitabh has rendered peculiar song in juvenile tones of 13 year boy ("Auro") has been historic newsmaker and its violin driven theme piece has been benchmarking flick's presence in the marquee. Can the historic communion and valiant efforts of these two stalwarts (Big B and Illaiyaraja) be sufficient to deliver out musical success? Like TAARE ZAMEEN PAR (2007), can PAA be rare successful feat in child-entertainer genre? Let's find this out...
It's breezy romanticism paced in subtle innocence of meeting beloved that surfaces out with blooming emotions in rock-cum-jazz maneuvers in melodically feminine "Mudhi Mudhi Ittefaq Se". Illaiyaraja's composition is synchronized to perfection with violin notes, guitar riffs camouflaging appreciably with jazz elements, percussions to sensitize out demure romantic sentiments. Shilpa Rao's sultry ooze in low octaves varying with changing moods permeates into fine textured jazz decorum in wordings that are concentrically jumbled ("Udi udi han udi, main phir udi udi, Ittefaq se, Judi judi haan judi, mein phir, judi judi ittefaq se...) in its rendition. Swanand Kirkire's lyrics befit to the "cold-nerve" innocent love communion and it finds a way with this beautiful synchronization of instrumentals that gels with nimble-paced vocals.
The second version "Udi Udi Itefaq Se", again by Shilpa Rao works on similar musical parameters with slightly different tempo but with similar appeal. Shaan sings out deeply the third version "Gali Mudhi Ittefaq Se, a mellowed one with minimal orchestral works emoting out with soothing undertones of innocent love. All three versions carry romantic heart to make waves in narrative twists and adding to the love quotient of this kid-friendly unconventional saga.
"Gumm Summ Gumm", a delectably paced melody coming in format of nursery rhyme brings out orchestral genius of Ilaiyaraja with innocent vocals mixing well in tandem. K. Bavatharini's impressive vocals are preachy cum smoothening that gets into "kiddies" rhyming with Shravan's cherubic voice, adding positive vows. It unravels to heart of the child and reminisces out couple of impressive motivational numbers like "Kholo Kholo" and "Bheja Kum" (TAARE ZAMEEN PAR -2007) where child-mentality is amicably handled with well penned words. K. Bavatharini's voice is remarkable in softer sentimental hues but it's the well synchronization of instrumentals (piano and violin) in latter and middle interludes that gives it refined narrative edges.
Like "Gumm Summ Gumm", "Halke se Bole", a chorus number works on similar motivational aspire of rising up and making it big and special in life. This brief melodic work is an impressive background score and should be valuable add in the narration.
Sunidhi Chauhan's husky "n" shimmering voice catches every nervous emotions of first love in mellowed situational soundtrack "Hichki Hichki". It gives PAA, a domineering feminine sounding album as Ilaiyaraja pitches another impressive number with finesse. It reconciles couple of Rehman's female solo compositions and is a fusion of classical-cum-western works. Swanand Kirkire's witty lyrics gist well to emote in recurring mode with tangible orchestral displays moving with vocal movements to give it a profound theatrical exhibit. Sunidhi emotes out well in modulating tones and this is likely to be adorable feature in depicting out love-chemistry of lead pair.
Ilaiyaraja and Amitabh Bachchan get together for "challenging-in-efforts" but "juvenile-in-expressions" in poignantly appealing title track "Mere Paa". Big B sacrifices his popular and likable baritones for contorted nasal twang in gesticulating out expressions of destitute child for his lovable parents. Ilaiyaraja's harmonic orchestral flows are again a prize factor while Swanand Kirkire's wording tries to recreate the murkiness of lost-child expressions of "Maa" (TAARE ZAMEEN PAR -2007) with narrative success. In the first hear, it sounds like upcoming or kid singer ushering out this soundtrack but it's thespian (Big B) resounding efforts that makes this possible. This makes the collage of two working wonders but the visual display will be giving it more edges and making this likable singing works by Big B in recent times.
Spread the word...! The word "Paa" gets marketing buzz with the word getting enlightened into enthused harmonic chorals in jazz cum pop orchestral displays in "Paa Theme (instrumental)". It carries the promotional binge with the word "Paa" getting motivated into racy chorals and instrumentals that has carnival-fest tempo to create buzz for the flick.
PAA is thematically classy in contents and has that peculiar Ilaiyaraja's genius touches giving it substantial narrative edges at right places. The biggest hope to excel in charts is "Mudhi Mudhi Itefaq Se" while "Gumm Summ Gumm" and "Mere Paa" are remarkable works of excellence and innovation. For its classy contents, the album is likely to be catering well to quality listeners and is surely be appreciating out with flick's probable box office success.