By Satyajit, Bollywood Trade News Network
A.R Rahman, the musical genius with hat trick of performances as nominations in “Oscars” makes final blow of the year with GURU. This time he is burdened to compose for biopic cinematic spectacle inspired from the life and works of Dhirubhai Ambani. Rahman has youthful blast with “Masti ki Pathshala” and “Rang De Basanti” last time but GURU comes out with sedate “rags to riches” concept with virtuoso of biopic touch. It has its shares of tuneful splendor but is restricted to honey coated melodies while rest of them simply disappoints. Gulzar’s meticulously relevant lyrics are saving grace but even they feel suffocated under uninspiring and jarring musical stuff. Mani Ratnam’s tryst in Bollywood triggered with rhythmic and rumbustious thump of Rahman in ROJA and DIL SE but turned mediocre in YUVA. Aishwarya and Abhishek over the top chemistry is the high point with svelte Vidya Balan and sensuous Mallika Sherawat, adding grace and oomph.
Rahman imbues the subtle innocence of village belle serenaded with mellow and somber vocals in naturally delightful melodic work “Barso Re”. Touted as Ash rain song, it has the classy glimpses of “Taal se Taal Mila” with Rahman revisiting his priceless “Dil Hi Chota Sa” (ROJA) and “Awara Bhanware” (SAPNEY). Shreya Ghoshal throaty vocals are exuded with tonally textures of feminine radiance and rustic subtlety. Watch it for Saroj Khan’s (choreography) immaculately expressive and momentous body moves with nuances of rural chirpiness felt through Gulzar’s suave words.
Rahman holds the mike and delivers “Tere Bina” in soft pitch with emblematic touch of signature rhyme “Tum Tara Rum Pum”. This time maestro churns out signature beats and tunes reminiscent of film thematic feel with modest orchestration. The sedate romanticism is groomed further with Tamil accented Chinmayee in contours of classical “Sufi” harmonic flavors. Brilliant but not groundbreaking, it caters to the genteel chemistry with verbose flamboyance of Gulzar’s meaningful lyrical exertion.
Puffy faced Bappi Lahiri ludicrously and whimsically zany “Ek Lo Ek Muft” is big disappointment from lexicon of Rahman’s melodic collection. Earlier Rahman rendered “Rukmini Rukmini” with flair of folklore embedded with desired sensuousness but this sounds chaotic, loud and messy. Tanvi, Saloni, Boney and Jaidev novice vocals simply add to the credits as background voices sustained with uninspiring Gulzar’s lyrics. Skip it!
Rahman’s binge with hi-tech sensuous and hip-gyrating musical extravaganza strikes zealous bang in loud and seductive “Mayya Mayya”. Maryem Toller smoldering vocals strikes optimum balance with serpentine paced techno-generated musical beats with heaps of oomph. Maryem’s Tamil accented feminine tinge sounds picture perfect for seductive Mallika with shades of lascivious “Humma Humma” (BOMBAY) clubbed with Arabian harmonic flair of “Satrangi Re” (DIL SE).
The vintage and aural nostalgia of eternal love makes “shayarana” vibes in poetically loquacious soundtrack “Aye Hairathe”. Hariharan’s mellifluously refined vocal ebullience emotes out romantic phrases with élan but restricts itself to classy collector’s collections. Ever reliable Alka Yagnik makes most of synchronized vocal strength and makes it brighter with Hariharan’s presence. Gulzar’s subtle impishness catalyzes the graceful soliloquy that allures listeners with perfect harmonic balancing. Rahman holds the fort with enigmatic elegance of classical music mixed with opera finished westernized feel. Simply classy!
Cadaverous to the core, “Baazi Laga” is apology of soundtrack that even Udit Narayan and Madhushree audible voices are meek to lift. Gulzar’s disfigured phrases sound garrulous and speak out for the risks and gambles of life in slapdash ways. Avoid it for its sick and haggard musical display and proves to be huge disappointment for Rahman’s fans.
“Jaage Hain” has euphoria of hope and deliverance loaded with resplendent opera and symphony touches. Rahman’s vocal and musical display makes it theatrically affluent shouldered amicably by Madras Choral Group in chorus. Bravura of spirited emotions oozes out through echoing sounds, rhythms and notes and makes it emblematically enriched for the film and album. Rahman did it splendidly in “Khoon chala” (RANG DE BASANTI) and “Bharat Humko Jaan Se Pyara Hain” (ROJA) and shines back in “Jaage Hain”.
'Guru’ has moments of triumph but lacks the tenacity of commercial success in upbeat market flooded with upbeat Sufi pop and hip-hop styled music. The entertainment is restricted to class listeners with meaningful numbers like “Aye Hairathe”, “Tere Bina” and “Jaage Hain” but will find itself difficult to be choice of pop genre.