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 Vaah! Life Ho Toh Aisi
Director :
Music :
Lyrics :
Starring :
 Mahesh Manjrekar
 Himmesh Reshammiya
 Sameer
 Sanjay Dutt, Shahid Kapur, and Amrita Rao

By Ronak Kotecha, Bollywood Trade News Network Send to Friend

Vaah! Life Ho Toh AisiMahesh Manjrekar seems to have gone for a total image transformation. From rugged macho adventure movies like Vaastav, Hatyar, and Musafir to family oriented movies like Viruddh and now latest to join the league, Vaah! Life Ho Toh Aisi. The sript of the movie, though, was ready some ten years ago when Manjrekar wanted Amitabh Bachchan to play Sanjay Dutt’s role of a
“Yamraj” (God of Death), and Sanjay Dutt was considered for the role that is now played by Shahid Kapur, with a bunch of kids including Shahid’s younger sibling, the movie also stars Amrita Rao. Himmesh Reshammiya and Sameer form the music crew.

Catchy and beguiling is the melody and the beat of “Teri Yaad Yaad,” featuring Jayesh Gandhi and KK. Himmesh Reshammiya’s friendly touch is more than evident even in the remixed version called “Love Mix,” and with Sameer’s uncomplicated lyrics, the track has everything that connects with the listeners instantly and stays on.

The pace of the tempo continues with “Pyaar Mein Tere,” and its remix – “The Club Mix” that once again bonds promptly with the archetypal Hindi moviegoer. Sonu Nigam and Shreya Ghoshal ensure youthfulness and commercial viability of the track while Sameer’s easygoing lyrics once again do the trick.



Himmesh and Sameer get back to where they started with “Chahenge Tumhe.” A sweet engaging duet that has Udit Narayan and Shreya Ghoshal in absolute harmony. The track is so humble and pleasant that you cannot help but like it.

Kunal Ganjawala, Madhusree and Jayesh Gandhi (in background, as always), coalesce for “Koi Aap Jaisa Mil Jaye,” a track that is just all right to pass by you harmlessly. So is the conclusive track, “Dil Ke Maare” by Udit Narayan and Alka Yagnik. Both the tracks seem to be straight out of the Reshammiya’s ready reserve of inexhaustible tunes that he counts on for his single-handed supply of music throughout the year.

Religiously inclined Manjrekar marks the end of the compilation with a modernized rendition of “Hanuman Chalisa” by Shankar Mahadevan and Ajay.

In totality, the compilation can be termed as “Average,” where a track or two can be smartly used to promote the music, but lofty expectations should be strictly kept at bay.

 


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