Pulp fiction crawls to supremacy as the bulging biceps of Sunny Deol makes its first splatter of the year at the box office with Guddu Dhanoa’s BIG BROTHER. Lady luck seems to be eluding this actor-director pair after the debacle of 23rd march 1931 SHAHID followed by the delayed release of BIG BROTHER (earlier titled DEODHAR GANDHI). Guddu Dhanoa crankshafts the predicted plot of “one man army” against the evil outlaws with the tagline “Every Family has a Hero”. Earlier it was Dilip Sen – Sameer Sen pulsating beats showing ambivalence to Sunny Deol uncharacteristic dancing in ZIDDI and SAALAKHEIN. In BIG BROTHER, Dhanoa prefers different beats and music and picks Sandesh Shandilya and Anand Raj Anand to do the needful. Barring the exception of Sufi soundtrack “Jag Lal Lal” (3 versions) and sentimental “Piya”, the album fails to rise above ordinary. Ustad Sultan Khan (“Piya Basanti” and “Ustad and Divas” fame) makes his first audible move impressively in Bollywood with this album.
Honey n saccharine seems to be erupting with mellowness as placidly voiced Shreya Ghoshal and Kunal Ganjawala takes over in the notably melodious number “Piya”. The lyrical work carries the ethnic folksy base of romanticism with conventional Bollywood rhythmic pattern by Shandilya. It may be not nostalgic but promises to be smoothening experience for melodious ears.
Traditionally idealistic vows of righteous living and humane thoughts mushroom through the Sufi musical prowess of Ustad Sultan Khan in “Jag Lal Lal Lal”. Sandesh Shandilya’s balanced fusion musical impact delivers spectrum of emotions that should find its way in dramatic moments. Anil Pandey’s meaningful and momentous lyrical works are amicably glorified as the number gets two major outing in the album.
Zubin Garg’s flamboyance in Sufi singing makes another significant budge as he renders “Jag Lal Lal Lal (part-2)”. It comes in softer vocal mode and predictably will have more takers from pop genre cadre for its “yuppie” flavors.
It’s time for “jugalbandi” with melodramatic feel as Ustad Sultan Khan and Zubin Garg shares their vocals in “Jag Lal Lal Lal (part-3)”. All three versions show the upbeat musical trend but its appeal will be restricted to situational dramatic moments and to large extent to class listeners.
The folksy sensuality with raunchy lyrical dosages splashes through the vocal oomph of Sunidhi Chauhan’s rustic flow in “Balaam Tera Nakhra”. Shandilya plagiarizes the raunchy attire of “Beedi” with titillating keyboard notes to make it lively. This may not be as pugnacious as “Beedi” but should be eye feast for front benchers.
The piously offered sentiments and connotations to God Almighty are delivered through refined and steadfast vocal and musical works in “Jeevan Tumne Diya”. The prayer is boosted through the congenial vocal works of Roop Kumar Rathod, Udit Narayan, Alka Yagnik and Sadhna Sargam. This may be not commercially viable but will be soul stirring to ears and senses.
It’s time for Anand Raj Anand to get into groove of Bhangra pop with throaty Jaspinder Narula as they cuddles out vocally to synchronized Sunny’s atypical dance moves in “Lak Tunnu Tunnu”. The song has glimpses of “Kammo” (ZIDDI) and “Punjabi Munda” (SAALAKHEIN) but the youthful zest seems to be out-of-proportion with present trend of musical flow. Like “Jat Yamla” (NAKSHA), it will limit takers from Sunny Deol’s fan following clan and will add light moments to the film.
BIG BROTHER fails to deliver with its routine and “run of the mill” feel but shows signs of promise in Sufi pop “Jag Lal Lal Lal” (3 versions) and to some extent with “Piya”. The impediment in its release has faded the magic and the rest of the numbers sound too stale to digest. It will breathe last and will survive till its stay on the theatres.