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Director :
Music :
Lyrics :
Starring : |
Salim-Suleiman
Jaideep Sahni
Shahrukh Khan, Vidya Malvade, Anjan Srivastava, Javed Khan & others.
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By Satyajit, Bollywood Trade News Network
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 Salim-Suleiman’s zeal and ardor for sporting spirit and sportsmanship lives another life in CHAK DE! INDIA after their splendid harmonic display in Nagesh Kukunoor’s IQBAL. SRK and YRF combination have often rendered ground-breaking musical surprise in past but CHAK DE! INDIA comes more like a sporty vociferous musical exhibit delivered in its most voluble versions. Jaideep Sahni’s lyrical expertise exudes techniques and strategies of the game that gets embellished with loud cheers up and soulful outcries. Like BLACK, EKLAVYA, this pack of situational soundtracks caters to the different moods, desires and sentiments of situations and actors in the film.
After “Chak De Phatte” (KHOSLA KA GHOSLA), it’s “Chak De India” from the man (writer cum lyricist Jaideep Sahni) who brainchild’s this athletically profound show as it come more like a cheering up for Indian hockey brigade. This emblematic melodic treat comes in vociferous thrust by throaty Sukhwinder Singh, well supported by westernized orchestration and svelte vocals of Marianne D’ Cruz and enthused Salim Merchant in the backdrop. It’s more volubly punctilious track about the sportswomen who hails from different backdrops as they get assemble, toils for supremacy and gets cheered for country’s pride and glory. “Chak De India”, the title track comes more like a musical monologue from the hockey coach (Shahrukh Khan) is pragmatic morale booster that should ascertain the authenticity of the “never say die” spirit on the screen. It’s no great “movers and shakers” work or anything earth-shattering in terms of its musical aplomb but a sedate and boisterous offering that should work positively for album and film in the coming months.
After enthusiastic and soulful sporty cheering, it’s “grooming” session for the “ladies on the field” with ebullience of vibrant Hema Sardesai strikes lusty blow with dreamy desires in feminine “Badal Pe Pao Hai”. Salim-Suleiman’s tried to hard with hard rock orchestration as it is extra loaded with loud thumps and percussive sounds that decimate the docility and serenity of the track. Hema Sardesai’s finest work “Aawara Bhanware” (SAPNEY) had similar tonality as Rehman’s soft titillating notes and rhythms proved assiduous cushioning for her voice but this works more like an imposing situational soundtrack. It can well be conceived during training sessions on the hockey fields to the inhibited dreamy desires of girl’s brigade in the dressing room. This “goody-goody” ad-commercial styled feminine number will be more playful in its cinematic description but still Hema Sardesai delivers another rocker in recent times.
“Ek Hockey Doongi Rakh Ke…” volubly absurd or thematically punctilious? Decide it for yourself as innovative experimentation brings different shades to the marquee as this melodic offering brings varied sketches of fourteen girls in an aggressively voluble form than in tuneful notes and rhythms. Shahrukh Khan articulates and anchors this introductory number that gets voiced by all the players and glorifies the silhouetted sketches of all big and bad girls on field. Salim-Suleiman delivers a catchy rhythm to accentuate the brashness through percussive elements but Jaideep Sahni’s pragmatic and rational wording unravels through belligerently and argumentative cuss phrasing and rustic lyrical flow. Feel its “killer instinct” on silver screen than enjoying anything substantial in its melodic packaging in the album.
“Bad Bad Girls”, an Indi-Pop styled soundtrack comes as racy and snazzy background number that epitomizes the snooty and snobbish “attitudes” of bad girls on the field. It’s enthused and perky orchestration makes it an urbane friendly track though the lyrical work hardly adds any meat to it. Anushka “Golmaal” Manchandani’s superciliously vocals forms a haughty chemistry with trendy arrangements that bondages the vivid moods, sentiments and characterizations with the spirited theme of the film.
It’s time to disco! “Hockey Remix” (Midivial Punditz), a tantalizing “club” remix offering comes out as bombastic “medley” of all the audible and playful happening of the album. It collages the upbeat textures of roguish-voguish “Ek Hockey Doongi Rakh Ke” delivered feverishly in techno-beats and electronic sounds with tinge of emblematic “Chak De India” in instrumental mode. It can be catalyzes as promotional track or well can be used in end titles, so feel it’s racy “club” feel and rock the floors.
After “girly” and “sporty” soundtracks, the mood turns somber and disdainful as the feel of self repentance, sorrow and atonement takes the path of devotion to God Almighty in sentimental “Maula Mere Le Li Meri Jaan”. Krishna along with Salim Merchant takes a peculiar Sufi singing mode in singing his heart out, though his singing is hugely inspirational from S D Burman 60’s style of singing emotional tracks. It’s a mediocre situational soundtrack that discloses the morbid and gloomy past of the lead protagonist who prays for solace and peace from God Almighty.
 Shahrukh Khan’s concluding wording before the final countdown comes in sentimental monologue, where he discloses the heart felt emotions about the game and spirit of sportsmanship in articulately imposing “Sattar Minute”. This two minute offering talks about the seventy minutes of hockey match that really proves decisive for everybody involved in it. This melodramatically penned is more theatrical than musical, so feel its pain, pathos, struggle and pleasure on silver screen.
Salim-Suleiman delivers a modest performance as a composer in CHAK DE INDIA but still they are well short of a chartbusting surprise. The soundtracks of CHAK DE INDIA have an innovative treatment that brings the incalculable phases and shades of hockey team, though its musical presentation will have its advocates and adversaries. The title track “Chak De India” stands out as the most promising while the rest of them work mechanically with the spirit and situational feel of the film.
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