Ekk Deewana Tha Music Review

Ekk Deewana Tha Movie Poster
Ekk Deewana Tha Movie Poster
Satyajit By Satyajit | 18 Mar 2017 15:39:30.6200000 IST

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When "Dosa" (South) meets "Samosa" (North)...something nicer and spicier is predictable to happen! Ironically speaking, in year 2011, the first three big box-office hits (BODYGUARD, READY and SINGHAM), were all official South-remakes that made cash register ringing all the way. EKK DEEWANA THA, an insightfully romantic flick about love relationships, falls in this cadre, as it is official remake of Tamil super-hit VINNAITHAANDI VARUVAAYA (meaning - Will you cross the skies and come), which was later remake in its Telugu version as YE MAAYA CHESAVA with a different cast and climax. On musical front, prolific director Gautham Menon maintains the sanctity of the subject and confers the musical department again to the maestro A.R Rahman. Like ROJA, HINDUSTANI, HUM SE HAIN MUQABALA etc, this album too has similar sounding composition from the original version with couple of added new songs in it. Past experiences and results clearly indicates a win-win situation for the album, but can this be one great album that will set audio sales soaring high with its quality displays. Can EKK DEEWANA THA be the perfect romantic album for youngsters in year 2012? Let's get straight into its musical facts...

To suit the mood and taste of Bollywood listeners, Rahman plays safe and tries to invigorate a sort of quintessentially Bollywood 90's stylized romantic composition in the opening track "Kya Hai Mohabbat". It's genteel and soothing in textures and comes more like a narrative monologue from the lead protagonist, exuding out shades of "Mohabbat" (love). Rahman's caressing tones are expressive and connect descriptively with changing shades and moods of the track. It's a decent start (if not great) to the album where a listener is well-aware of the feel and gist of the flick.

Next to arrive is quizzically trendy sounding "Dost Hai (Girl I loved you)", a hysterically and compassionately crazy version of "Kannukul Kannai" (VINNAITHAANDI VARUVAAYA {Tamil}) by Naresh Iyer, with added shades and style of racy hip-hop emceeing and crazy sound antics, somewhat similar to "Liquid dance" (SLUMDOG MILLIONAIRE). Jaspreet Jasz and Arya crazy emceeing are the resounding highlights, giving it a true uber-cool urbane feel and giving many thriving moments of excitement for big screen histrionics. It has typical Rahman's style of slick composing that are tailor made for situational needs, a perfect track for B-boying dancing on streets. In terms of performance and composition, it's different from original version as now Rahman experiments with loads of hip-hop emceeing rather than preferring on vocals, moreover a visual delight for new-age generation. Go for it!!!


A Different Beat! Moving across from urban beat structure of hip-hop to enchanting sounds of Kerala shores is an all-together a blend of experience, a unique feel of romanticism that is gripping as well as narrative sounding in "Aaromale" (appearing as "Aaromale {VINNAITHAANDI VARUVAAYA})". It's the genius of Alphonse Joseph, a renowned Malayalam musical prodigy that enlightens senses and makes the word "Mohabbat" even clearer with his resonating rendering of "Aaromale" (meaning my beloved) in varying tones. As far mood and tempos are concerned, it's a "viraah" (song of separation or delusion) song where the lover cries for his beloved he loves the most and hopes for a delightful communion, in typical folksy tones. Rahman's composition pulsate the mood with intimidating strings that captures senses in the prelude and later it's the vocal throws of Alphonse that carries the song with the required dexterity. For Bollywood listeners, it will be all-together "a different beat and breed" type of song that can be classified as "folksy rock" ballad, sung meticulously and should be working as a prominent background score in the flick. Impressive!!!

Hosanna...finally! From the enchanting sea-shore mentholated chorals to the buzzing electronic digitalization in arrangements, the mesmerizing phases of jubilant romanticism takes its toll on senses in mellifluously composed "Hosanna" (appearing as "Hosanna" {VINNAITHAANDI VARUVAAYA}). The soul-stirring relaxing ambience in delectably soft orchestral flows domineers as so are ebullient voices, which together makes soulful impact on ears. Leon D'Souza minty breezy youthful tones are soulful bliss that concocts adorably with Suzanne D'Mello's subtly toned humming. Javed Akhtar's easy-on-ears lyrics justifies the feel of "Hosanna" (meaning 'glory' in Christian chorals) while Blaaze's "yuppie" wordings adds madness to the musical textures. As far as hysterical romantic impulse is concerned, it rejuvenates back the feel of "Saathiya" (SAATHIYA) with loads of technical improvisations in both arrangements and orchestrations. Leon's boyish voice is truly a solace for ears, a worthy attribute by Rahman through this soundtrack that will surely be enjoying a longer shelf-life in months to come. Soulful!!!

Mushy romantic groves maintains its top-slot, as now the love-chemistry starts blazing through subtle overtures and whims in sentimentally rendered "Phoolon Jaisi Ladki" (appearing as "Omana Penne" {VINNAITHAANDI VARUVAAYA}). Once again, Rahman maintains the sanctity of the original composition and mesmerizes mood with magical spells of soft romantic hues that are blend of lovable voices and comforting musical decorum. Clinton Cerejo's soothing baritones in lower octaves are really enchantment for ears that exudes the charms of beloved in simple poetic phrases. It has delight of Malayalam lyrics of Kalyani Menon as well as her somber back-up chorals, adding feminine and ethnical shades of Kerala culture. Rahman's meticulously worked composition is beautiful amalgam of traditional and upbeat modern instrumentals that works positively in creating emotional shades in the chemistry. Adorable!!!

view EK DEEWANA THA movie stills
view EK DEEWANA THA movie stills

? I can understand when siblings have different shades, but Julie's brother is far to 'tanned' for one to actually believe they are siblings. An error from the casting director. Either the brother could have been ten shades lighter or the sister could have fitted the Mallu-Christian character she is supposed to portray.

? And was it necessary to go on and on and on and on about a love story that at one point in time the audience doesn't care whether Sachin and Julie do have a happy ending?

? How can you stretch a film beyond a point. Even a rubber band snaps when elongated beyond its capacity.

? I understand that this film is a remake of some south film that has been a huge hit, but I dare say that it will not work here. The best the director could have done was change the Mallu angle and let Amy Jackson play the foreigner that she is. That would have been more believable.


? What was the cameran who is working on a Ramesh Sippy film, doing as a sidekick to someone who is 20 years his junior? I mean we are talking about a generation gap here.

? Then there's also HDFC Bank and PVR who play supporting roles. They have more screen time than Sachin Khedekar!

? Finally, a sentence in Malayalam...Enganatha cinemeka evedia preykshakar? (How can a movie like this find an audience?)

The story: Sachin is a mechanical engineer who is jobless. He loves the world of cinema and is lured by the action behind the lens. Jessie is a genius in math. She is a working girl, who hates movies. She lives on the floor above Sachin and when they first meet, Sachin has his heart in his mouth. He relentlessly pursues her. There's opposition from her family; she being a Catholic and he a Hindu is not something her father is too thrilled about. Add to it that he is jobless and a tenant in her father's home (this fact is not established in a manner that it should be). The story then is how he goes about winning their hearts and hers.

Rating - 1/5

Rating 4/5

Movie Cast & Crew
  • Actor: Prateik Babbar, Amy Jackson, Manu Rishi and Sachin Khedkar
  • Lyrics: Javed Akhtar
  • Director: Gautham Menon
  • Music Director: A.R Rahman