Whether it was sensual “Jaado hai Nasha Hai” (JISM) or mesmerizing “Tum Mile Dil Khile” (CRIMINAL), MM Kreem’s exploits as consistent composer in Bhatt camp has been unparallel and unmatched. The alliance continued splendidly even in his vocally rendered “Awarapan Banjarapan” (JISM) followed by a mediocre hit in “Khoobsurat” (ROG). SAAYA, a dark thriller failed to create any ripple with its slapdash musical offerings and now he is back with DHOKHA. DHOKHA meaning “deceit” follows another key presentation in their segment of dark thrillers but disappointedly it comes out as his weakest offering for the camp. Bhatt’s passion for Pakistani based Sufi rock continues as Pakistani guest composer and singer Shiraz Uppal steals all the limelight with album’s only hit track “Roya Re”.
The opening track “Anjana” brings memories of MM Kreem’s well composed “Jaane Kya Dhoondta Hai” (SUR) where the carefree feel of “happy-go-lucky” lover gets emanated in peppy vocals of KK. Shakeel Azmi’s prosaic capabilities enamor the lighthearted sentiments in conventional Bollywood styled lyrical flow matching the composure of soft pitched arrangements. KK’s versatile genius in churning out solo romantic is well catapulted but MM Kreem’s outdated and archaic fails to lift tempo. MM Kreem takes his best shot at vocals in the second version of “Anjana” in his huskier paced voice with slightly relaxed orchestration. This version has meatier guitar strumming that forms a sensual collage with piano and percussions but the penetration of soulful solo ballad is completely missing. It’s a good situational hear in the flick but nothing spectacular about the bleak mesmerizing feel it produces in its “feel good” presentation.
It’s Pakistan’s rock talent Shiraz Uppal’s vocal finesse and composing sensibilities that forms soulful backdrop for the melodramatic blueprint of the intriguing “deceitful” happening in album’s most promising and heart warming soundtrack “Roya Re”. Shiraz’s vociferous and excruciating singing mode is harmonically synchronized in upbeat orchestration with supple and angelic feminine choral backdrop giving it a nostalgic finesse. Sayed Quadri’s poetic semblance of heart-piercing and emotional gripping wordings gives it a melodic thriving thrust that adds to the merits of this noteworthy soundtrack. Shiraz Uppal’s most acclaimed album “Jhuki Jhuki” has memorabilia of such soulful ballads and this too adds to his noteworthy credit list.
MM Kreem showed his potential in stirring out a horrendous chilling music impact in JISM and to some extent in the raucously intriguing tracks of ROG but this time he disappoints with the title track “Dhokha”. Rafaqat Ali Khan’s over-enthused Sufi based voice sounds too ear-deafening while the overtly animated arrangements clubbed with intimidating musical impact proves too outdated and outmoded in present context. DJ Suketu is behind DJ wheels and spins in delivering it a rollicking “club” remix in loud-pitched contemporary remix track “Dhokha (remix)”. It’s like those peculiar remix tracks that sounds better than the original version for its flickering paced funky beats and disco thump but skip it for better remix tracks.
Finally, “Kab Tujhe” follows the contemporary Bhatt’s styled musical format that has been predominant in their 90’s melodramatic flicks. It’s an outdated sentimental work where the commercially affable voices of KK and Shreya Ghoshal finds incompetent backing of ordinary lyrics and stale musical arrangements. It bears stark resemblance to MM Kreem’s composed “Aye Meri Zindagi” (SAAYA) and dozens of Bhatt camp styled romantic tracks in terms of lyrical eminence and musical composition with some extra tinge of South Indian musical percussive works in the background. It disappoints completely for its decayed presentation and “run of the mill” musical works and relegates albums prospects to the lowest extreme.
DHOKHA disappoints completely with its shoddy and sloppy musical display and comes out as weakest musical offering from the esteemed Bhatt camp. It can be termed “meek” endeavor from Pooja Bhatt’s directorial stable as her previous two offering HOLIDAY and PAAP were musical chartbusters despite film’s colossal debacle at the box office. Shiraz Uppal’s rendered “Roya Re” shines the brightest while the rest of the numbers simply fits into situational needs of this dark thriller flick. Substandard!!!