By Raunaq Kotecha
His directorial ventures are just as different as the movies he acted in. Amol Palekar, one of the most sought after actors of his time had an unconventional face and persona that did not quite fit into the description of a HiFi (Hindi Film Industry) Hero, but then these were the two of his characteristics along with his unique acting abilities that created a niche for him self, which is still prevalent and evident in his latest multi starrer project - PAHELI. With the King Khan and the current Queen of Bollywood Rani Mukherjee, PAHELI is taut with stalwarts like Amitabh Bachchan, Juhi Chawla and Anupam Kher. Suniel Shetty also happens to be a part of the movie, but had to exclude him from the above list (for obvious reasons).
Produced under Shahrukh Khan's Red Chillies Entertainment, PAHELI is a film by Amol Palekar with musical team comprising of the two very different and intense composers and lyricists - M.M. Kreem and Gulzar respectively.
Sonu Nigam captivates at the very start of "Dhire Jalna" and continues to do so while the rest of the tenure of the track until Shreya Ghoshal joins him only to elevate the experience. A traditionally written and composed track does have the mysticism and aesthetics to appeal to the intense music lovers. Track is also lush with flute, dholak & shehnai pieces that totally come into life with the instrumental of this track. The best part of the track is its range from lowest to the highest pitches that has been very well handled by the music crew.
A brigade of well-versed female singers collaborate along with the only man Sonu Nigam to keep them company in "Kangana Re". Needless to say, the track heaves the opulent composure of the album only too well. Shreya Ghoshal, Madhushree, Bela Shende and Kalapini Komakali form the awesome foursome and execute the track with absolute harmonization. Gulzar's rustic lingo coupled with M.M.Kreem's zealous symphony bears the true Indian folk essence, once again making the track an interest only for a select genre of audiences.
A mellow somber track "Khaali hai tere bina" with the velvety vocals of Hariharan comes next. A track at such a leisurely pace should have a good situational value in the movie. Gulzar and M.M. Kreem once again create a different track that might take some time to grow. Singer Bela Shende has little to do in the track while Hariharan certainly is worthy of applause for the high-pitched aalaaps toward the end.
An extremely swift track with some emblematic rural accent is "Phir Raat Kati", which is about the night turning into the day and then back to and more about the night. The track is a total fun package with Sukhwinder Singh and especially Sunidhi Chauhan showing off their extreme versatilities, by slipping into the Rajasthani accent so blissfully and executing the track so naturally. On-screen, one can expect a stately puppet show on this one.
Shreya Ghoshal, Madhushree and Bela Shende once again coalesce for an absolute girl act in "Minnat Kare". All three singers (through Gulzar's momentous lyrics) pertinently convey the emotions and the impishness involved in the matrimony and the night that follows the day when an Indian girl leaves her home to start the subsequent and the most fulfilling phase of her life.
"Laaga Re Jal Laaga" is the track featuring the composer cum singer M.M. Kreem along with Sonu Nigam and Shruti Sadolikar. The trio has done an estimable job in executing a track that is so diverse and difficult as well.
The music that is so daringly different obviously needs nothing less than such an onerous star cast, probably the most saleable names in the business today. However, due to the lack of any commercially viable element in the music, the sales may be limited to its target audience, but we're sure, there is more to PAHELI than just the music - aren't we?