Himesh Reshammiya, the multifaceted sensation who had many aces up his sleeves adds one more dimension to his credit with multilingual big bonanza DASAVATHARAM. It could not have been anything better and bigger for him than Kamalhasan?s most ambitious big screen extravaganza DASAVATHARAM to enter South Indian filmdom. Reshammiya takes a break from his repetitively outrageous sounding ?dhin-chaak? Sufi splurge and boisterous nasal singing by pitching out disco beat filled and religiously devout soundtracks. It may sound strange that the film that presents talented Kamalhasan in ten different ?avatars? has just six original soundtracks in its audio packaging. Still they rock?
Kamalhasan took most unconventional decision by experimenting out with Reshammiya?s Sufi-rock mode as his peculiar ?sarangi-tabla? loop embroiled with thumping disco beat fillers rock the floor with ?Koi Tumsa (Come Dance with Me)?. Vinit?s (last heard in ?Kesariya? (NANHE JAISALMER)) blistering vocals comes out all blazing with ire and thrust in emoting out a rip-roaring concert disco track. Sameer?s easy-going wordings about adulation for God Almighty sounds asymmetrical in its flow but the vigorously punched ?sarangi? and drumming beat patterns lifts the spirits.
Reshammiya along with Sameer had soulful attribute ?Purab Se? (BANARAS) that went unnoticed and now together they had another remarkable outing in ?Om Namo Narayan?. Hariharan?s vociferous flows are immaculately pristine in its modulating flows that amalgamate brilliantly with the thriving sounds of ?Shri Vishnu Stuti shloka?, booming conch (?shankh?) rendition and empowering temple bells in the backdrop. Sameer?s mythological aesthetics supreme out amicably in emoting out philosophical attributes about might of Lord Vishnu, age-old faiths and myths. Reshammiya scores appreciably in delivering out 12th century spiritual backdrop (reference to Rangrajan Nambi, a devout Vasihnavite) with traditional instrumental flows (feel of temples and palaces) and aggressively loud ?shloka? rendition. It?s a thematically complicated composition to compose but still works out appreciably in signifying the sentiments of the situation and the protagonist. Soulfully Divine!!!
The concert feast returns back with trendy conglomerate of impressive vocals, titillating electronic sounds, scintillating instrumental flows and impressive wordings in ?Oh Ho Sanam?. Shaan?s ?yuppie? vocal feel is sparkling in its ?unplugged? preludes followed by blossoming rendition of ?Oh-ho-ho? that sets the mood for a rapturous rock-concert blast. The thriving beat patterns sports dazzling chemistry with Shaan?s ecstatic vocals in its sluggish disco-beat outburst. Reshammiya?s composition is noticeably analogous to his super-hit ?Aa Aa?Aashiqui Mein Teri? (36 CHINATOWN) and Sameer?s impressive lyrics really works wonders. Mahalaxmi Iyer?s brief and shrill rendition hardly adds any substance to the thrill but its Shaan?s noteworthy rendition that rocks the show. The party continues with its DJ ?club? remix where accelerated tempo along with raucously thumping beat-juggling really sets the floors on fire. Chartbuster!!!
In between all this, there's also Mallika Sherawat and Asin. Asin comes in twice; the first time is eight hundred years before, somewhere in the 1200s. She appears again eight hundred years later. No, she is no relative of the previous Asin. And no one found it necessary to explain the connection between the two.
Ram Gopal Varma buried himself in his self-glorification called, 'RGV Ki Aag'. He has found a serious contender in Kamal Haasan.