Anil 'Gadar' Sharma
Dharmendra, Sunny Deol, Bobby Deol, Katrina Kaif, Shilpa Shetty, Kirron Kher, Victor Banerjee, Javed Sheikh (Pakistan), Aryan Vaid
By Satyajit, Bollywood Trade News Network
Deol’s on a prowl! APNE, an ensemble of all Deol’s in one frame from Anil “Gadar” Sharma thrills out as one of prime endeavors of big Bollywood this year. Ironically, it arrives at a phase where all Deol’s seeks resurrection and together they collaged for a mega event. Regrettably the bad news from this spirited clan comes straight from their “not-so-happening lackluster musical album that proves too meek as a feisty competitor. The perpetrator is surprisingly “man in form” Himesh Reshammiya for his over-exhausted and over-exposed Sufi styled rock musical renditions in its utmost monotonous display. After his magnanimous AAP KA SURROR –THE MOVIEE, this album comes out as shocker for its assorted uninspiring and repetitive exhibit. Sonu Nigam’s solitary display in theme track “Apne” supercedes all Reshammiya’s vocal efforts and album cadre itself into the sect of high-profile average grosser.
After “Aamin”, “Aafren” (RED) and “Assasalam Valeekum” (AAP KA SURROR – THE MOVIEE), “Mehfuz” seems to be next domineering Urdu catchword from Sameer’s poetic glossary in a lyrical mode of typical Sufi rock for his favorite composer. Reshammiya’s loud-pitched phonation of “Mehfuz Rakhta Hoon…” juxtaposed with his jarring and “out of sync” musical arrangements failed to draw affable harmonic chemistry. The high octave works always demands conspicuously resplendent enthralling beat patterns with an electrifying thundering impact as it did in “Assasalm Vaalekum”. Unfortunately “Mehfuz” fails to satisfy the standards with its dreary exhibit and sounds uneventfully repetitive for its overtly delivered belligerent musical arrangements. The composer in Himesh Reshammiya seems to be getting over-obsessed with singer in him and it shows in his uninterrupted shoddy rock music displays. “Mehfuz (remix)” by Akbar Sami proves to be “detrimental to ears” and equally arid for its sluggishly paced disco beat impact with peculiar racy “club” mix appeal. Disappointing!
“Dekhon Tumhe to Pyar Aaye” mesmerizes senses with smoothening Gregorian chants rendition in the backdrop but later it fabricates itself into repetitive loud-pitched Reshammiya sentimental ballad with a mediocre musical strength. Unlike “Yahi Hota Pyar Hai” (NAMASTEY LONDON), Reshammiya pitches himself in high octave with minimal results rather than delivering it in medium octave that suits him to hilt in the emotional numbers. Akriti Kakkar’s mellow and meek vocals are submersed with feeble impact and fails to sooth senses in an uninspiring melodic mode. “Dekhon Tumhe to Pyar Aaye (remix)” tries to create hip-shaking instrumental feel in its elongated prelude and finally culminates to contemporary “club” mix attire heard zillions times.
Melody propels out with full bloom and makes its soulful prominence through melodramatically driven title track “Apne” with the vocal expertise of immaculately pristine Sonu Nigam. Reshammiya’s harmonic setting is highly influential from “Udd Jaa Kale Kauvan” (Anil Sharma’s GADAR – EK PREM KATHA) signature feel where free flowing “Sarangi” forms resilient bond of ethnicity with the inspiring baritones and stirring rhythms. It’s enchanting to hear Sonu Nigam in a Reshammiya’s composition after hiatus of months and its additional promising factor comes in the vocal form of booming “alaaps” assimilating with the rhythmical textures from vociferous Jayesh Gandhi. Jaspinder Narula’s brief interludes add Punjabi traditional vows with a feminine vocal touch. Despite the fact it has stereotyped Bollywood melodramatic appeal of 80’s and 90’s, “Apne” is acme of Reshammiya’s work and by far the finest title track by him in recent times. “Tere Sang” is the slower version of “Apne” showing pathos and cultural affinity with the notable vocal flair. Jaspinder Narula’s resonating religious verses gives it a gripping devout and inspiring background feel.
It’s time for Hollywood stylized theme number as “Eye of Tiger” (ROCKY) forms the biggest inspiration boost in a trendy hip-hop rendition for racy “Bull’s Eye”. Shaan along with Earl hits the deck with frantic English lyrics with dash of inspirational Hindi lyrics depicting the “die-hard” spirit of “Apne”.
“Ankh Vich Chehra Pyar Da” strikes grandly as magnanimous “happy-go-lucky” friendship track on floors with fine collage of perceptible voices. Shaan along with Kunal Ganjawala croons out in a pompous flavor of celebrating “love” with piercing nasal twang of Reshammiya in a thriving “bhangra” bash. Cinematically speaking, it reciprocates amicably with the frolicking “bhangra” thrust of “Dhoom Dhoom Luck Luck” (DILLAGI) but there’s nothing spectacular or chartbusting about it to cherish. DJ Akhtar conceived “Ankh Vich Chehra Pyar Da (remix)” is thumping and exhilarating to core and the finest ‘remix” cloudburst of the album. It’s frantic hip-hop, sensuous feminine moans and enthused DJ claps and scratch’s sets up a racy dancing tempo with a “peculiar” Reshammiya Sufi Rock thump. Enjoy!
Himesh Reshammiya’s “weak-willed” and jaded musical offering in APNE proves too “middle-of-the-road” to match the gargantuan celebrity strength plus its multi-faceted grandeur. It fairs poorly on novelty quotient with its strident and recurring compositions with an exception of melody in Sonu Nigam’s “Apne”. Himesh Reshammiya exhausts himself to extreme again as a vocalist cum composer and his musical fatigue cripples the promising endeavors. The flashy visual spectacles and choreographic flamboyance of the tracks can be the redeeming factor but the disappointment continues from Reshammiya’s clan for his tediously driven toil.