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Music Review : Return Of Hanuman |
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Director :
Music :
Lyrics :
Starring : |
Anurag Kashyap
Tapas Relia
Satish Mutatkar
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By Satyajit, Bollywood Trade News Network
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RETURN OF HANUMAN, the sequel to India’s most successful Bollywood’s animation flick HANUMAN (2006) takes another quizzically animated bow to the might and supreme of Lord Hanuman. This time the entertainment package is conceptualized with contemporary modern world as its catastrophic and delightful backdrop. Composer Tapas Relia and lyricist Satish Mutatkar maintains their supreme form and picks up all the proceeding from where they concluded in HANUMAN. If HANUMAN had vociferously cherubic delights like “Akdam Bakdam” and “Mahabali Maharudra” then RETURN OF HANUMAN is exuberated harmoniously with aggressive “Aaman Ko Chukar” and frothy “Dhishum Dhishum” with customary “Hanuman Chalisa” in its credits.
Tapas Relia had a bombastic start to HANUMAN with “Mahabali Maharudra”, adulation to deity by array of singers and now “Aasman Se Chukar” brings out the adventures of “Bal-Hanuman” with mischievously amazing lyrical flows, giving it a thunderous boost.
Daler Mehndi’s boisterously loud vocals adulates out the celestial supremacy of kid-Hanuman with a scorching vigorous reggae cum rock stylized orchestration in its backdrop. Satish Mutatkar’s good-humored wordings are aptly fictionalized to exude outrageously brawny aspect of deity. The over energized reggae may be sounding bit unfamiliar to hoi polloi but slick animation skills might just be delivering the needful for enthralling introduction to the super-hero HANUMAN.
“Blackhole”, melancholically profound rendered song is a fantasy joy ride about “Doodh ki nadiya and Dahi ka dariya” by “Bal-Hanuman” and fellow kids are all about their insatiable appetite. It has resonating prelude by Vijay Prakash and Mangal Mishra similar to “O Mitwa” (LAAGAN) where the substance is revealed followed by cherubically naive phrases. Adnan Sami’s varying voice conceptualizes all the playful “eatery” antics of cheerful kids with flair but the tempo seems to bit decelerated for this frivolously emoted animated acts.
If “Akdam Bakdam” (HANUMAN) made itself popular among kids then “Dhishum Dhishum” excels out to be most enthusiastic and acceptable track of the entire lot. The track is all about the chivalrous animated acts of “Bal-Hanuman” emoted through prankish and gullibly voluble wordings. “Dhishum Dhishum”, a singing delight by prodigal Shravan Suresh, is presumed to be front runner among audio listing and if it meets the adequacy of competent animation, then surely it can be another trendsetter in child-fictional segment. The connoisseurs had positive thinking about the predictable success of “Dhishum Dhishum” as they reproduced back with “karaoke” version that may be encouraging factor for budding kid-singers.
Its X-MAS time to rejoice and if pious “Hanuman Chalisa” gets rendered in customary “Christmas Carol” style of arrangement, then it can be some sort of reward in this festive season. The voices of child singers Armaan Malik, Baby Aparna, Shravan Suresh, Sneha Khanwlkar delectably collages effectively in a soothing mode to emote out the supremacy of Lord Hanuman. This mellowed and smoothening work (outstretched to 12 plus minutes duration) is innovative feat in terms of its composition and arrangements.
Here comes the “Superstar”! Kid Hanuman gets the trendy tag of “Superstar” as he leads the army of chivalrous gladiators in a fight against demons in chorally uproarious track “Superstar”. This quintessentially classical western orchestrated work has commotion of belligerent voices of Francois, Hrishikesh Kamerkar, Neuman, Samantha, Shaznine in a backdrop of thunderous notes and rhythms. It’s likely to be multifaceted cinematic animated piece of work that may be providing enthrall in the concluding engrossing phases of the flick.
There is some pertinent and engrossing instrumental works encapsulating all melodic delights of the album in forms of resounding piano trilling, chorally synchronized violin works, trumpet and trombones notes in the instrumental soundtrack “Medley”. Do enjoy bits and pieces of this track working potentially as reverberating background score in numerous moods and situations of the film.
RETURN OF HANUMAN is above average melodic work but altogether is a thin offering as compared to its much accepted predecessor HANUMAN. Tapas Relia’s constructive chemistry with Satish Mutatakar’s wordings is remarkable but the fun-filled entertainment is mainly restricted to “Dhishum Dhishum” and “Aasman Ko Chukar”. This submissively promoted album is expected to be working better than its recent contemporaries (BAL GANESHA, MY FRIEND GANESHA) but will certainly be meek opponent to recently released kid-entertainer TAARE ZAMEEN PAR, in terms of both substance and amusement.
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