“LAAGA CHUNARI MEIN DAAG, Chupaaon Kaise…” (DIL HI TO HAI (1963), Lyrics- Sahir, Music- Roshan), an immortal classical melody sung by legendary Manna Dey is the musical title tag for esteemed YRF (Yash Raj Films) next LAAGA CHUNARI MEIN DAAG. The combo of composer Shantanu Moitra and lyricist Swanand Kirkire has been so far evident in Vidhu Vinod Chopra flicks (PARINEETA, LAGE RAHO MUNNABHIA and EKLAVYA – THE ROYAL GUARD) but this time the expectations are high and humongous but the results aren’t that sky-scraping.
“Hum to Aise Hai”, a loquaciously crispy “happy-go-lucky” track inundated with roguish-voguish mischievous UP folksy lingo comes out full throttle and bangs out high with its highly volatile folly ethnical tinge. The ethnicity of “Banaras Ghat” and its countrified austerity are satirically penned into quizzical phrases with classical cum semi-westernized arrangements giving it a flourishing harmonic appeal. This chartbusting UP folklore style treat is analogous to “Dhadak Dhadak” (BUNTY AUR BABLI) and “Hum to Bhai Aise” (VEER ZAARA) where jovial Sunidhi Chauhan and Shreya Ghoshal smears out as lovable sibling while Pranab Biswas and lyricist Swanand Kirkire proves effective back up vocalists. Noticeably, it’s audibly giving YRF underproduction TASHAN mass-friendly awareness in lines like “Yeh Apna Tashan Hai Bhaiya…” Worth-a-hear!
Shantanu Moitra has been prolifically resounding in classical harmonic modes but this time he tries out a different beat of Bollywood “ishtyle” of fusion punch in frolicking Latino Salsa track “Zaara Gungunalein Chalo”. It’s all about vibrant dancing rendezvous with “goody-goody” 70’s lyrical feel clubbed with customary French cultural twirling impact with tinge of home-friendly “Ganga Maiyaa” impulse. It’s too chaotic and unsurprising in its lackluster melodic moves where conventional lyrics and middling vocals fail to create any current. Babul Supriyo along with Mahalaxmi Iyer may not be having greatest of time in this mediocre composition but surely it will be scaling higher with its spirited promotion and ever promising face value.
“LAAGA CHUNARI MEIN DAAG”, an eternal Manna Dey classical attribute and title track is synchronized into semi-classical westernized “lounge” impact where trials and tribulations of desolated hues of recluse are resonantly emoted. Classically renowned Shubha Mudgal sings out in traditional “alaaps” with excruciating propel with Meeta Vashist’s placidly voice emoting out the protagonist’s heart felt cries. It relegates itself from pop genre collections for it over-melancholic thematically classy appeal but positively a delight for niche audiences.
Now this may some type of coincidence that chirpy and conversational “Ek Teekhi Teekhi Si Ladki” is rhythmically similar to “Meri Zindagi Mein Aaye Ho” (ARMAAN) with extra spicy Latino binge in its backdrop. KK’s racy and Shreya Ghoshal’s bubbly outburst is well coordinated with sauntering guitar strums, piano notes and enthused percussive elements but the anticipated spark seems to be subdued and succinct. Watch it out with grandiosity on silver screen than expecting anything consequential in its melodic packing.
YRF hasn’t been popular or customary with classical stuff but this time it has invariable “bolt from the blue” treat in classically refined “thumri” number “Ehi Thaiyaa Motiyaa”. Rekha Bhardwaj’s immaculately pristine rendition along with classical instrumental display creates an aura of “mujra” surroundings. It’s almost rare treat after unnoticed YATRA soundtracks but this one is simply restricted to even smaller sect of class listeners.
”Kachchi Kaliyaan”, traditional UP marriage festive folklore that was first publicly audible in Doordarshan’s “HUM LOG” (with “Badki” (Rani Mukherjee) and “Chutki” (Konkona Sen Sharma) repeating again) comes in conventional thriving beats and rhythms. Sonu Nigam, KK along with Shreya Ghoshal, Sunidhi Chauhan forms two foible sects thronging out the celebratory vibes in teasingly jovial moods. Hip-hop and rock culture forms interesting “bhelpuri” with UP lingo phraseology in setting up decorum for pleasurable matrimony merriment.
LAAGA CHUNRI MEIN DAAG can’t be clubbed in YRF “earth-shattering” presentations and neither Shanatanu-Swananad was able to re-live the magical charm of PARINEETA, but the final result isn’t that depressing or sub-standard. Like CHAK DE INDIA, it promises to scale monumental heights if and only if the film meets with its desired triumph at the box office. Soundtracks like “Hum to Aise Hain” and “Kachchi Kaliyan” are expected to be big news in Hindi belt while rest of them are solely dependent on its slick chorographical success.