Shaapit Music Review

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Experimentation had given nativity to many genres of filmmaking and 'supernatural thrillers' are one among them. Barring the exception of Ramsay Brothers, there are directors like Vikram Bhatt (RAAZ and 1920) who had made their ground in this genre.

SHAAPIT (meaning 'being cursed') comes out as his third musketeer in this league. Aditya Narayan, son of noted singer Udit Narayan makes his multifaceted debut as leading man, singer as well as composer for this 'edge-of-seat' paranormal scary love saga.

Promising Chirantan Bhatt (MISSION ISTANBUL (2008)) leads this musical show with couple of engrossing tracks with Paki rock sensation Nazam Sheraz adding to the credits as guest composer.

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As a child artist and also as compere for singing reality show, Aditya has shown his flair but big screen business means something spectacular as well as enterprising. It will also be a big task for Chirantan Bhatt and all together it's a bandwagon of 'wannabe' musical genius striving hard to be 'blessed'. Can they do it or not, just check this out…

The melodramatic-cum-haunting overtones of 'lost love' pricks the first beat of the album with guest composer Nazam Sheraz's Sufi rock making voluble moves in 'Tere Bina'.

It has that 90's Bhatt's melancholic excruciation and melodic intense with an upbeat Paki rock beat stylized notions. Nazam's likable vocals and composition works with the intimidating pace and capsizes all the dark and frightening moments. Like original background scores of many terrifying supernatural thriller, it delivers out a decent 'worth-a-hear' feel for the big screens but nothing that make it special for charts.

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Some conventions are easy to follow and difficult to break! Lata Mangeshkar's evergreen hit track 'Gumnaam hai Koi' (GUMNAAM (1965)) is still iconic with tragic love anecdotes having backdrop of fear-provoking scary happenings. Shreya Ghoshal's intense singing in 'Ajnabi Haawayein' charters the same itinerary of melodic happenings with modernized instrumentations, improvised sounds, delivering out similar haunting shades of 'lost-love'.

It lacks innovation and penetrative impulse that can make you hear the entire duration with interest. Chirantan Bhatt's composition is tailor made to the situation with Shreya's impressive but outstretched rendition failing to make any strong intense impact.

Aditya Narayan, the hottest commodity of the fare makes doorway of musical happenings with flair of trance cum hip-hop gyrated moves in sluggish tempo-beat soundtrack titled 'Chaahata Dil Tumko'.

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This time Chirantan Bhatt's pitches Indi-Pop stylized composition with Aditya's voice getting digitally mastered in varied tones and tempos. Despite some 'sincere n honest' singing efforts, the whiz kid fails to be as empowering as his father but still matches to the tuneful settings.

It's the middle interludes that impress the most with remarkable Spanish guitar strumming and hip-hop emceeing. The collage of instrumentals coupled with electronic arrangements is well arranged and gives youthful peppy buzz.

While the first 20 minutes engages you, the same cannot be said of the remainder of the movie. Yes, it scares you at times but also gets too tedious. In between, they (Aman & Co) unearth another spirit, which is troubling the royal family. Confusing, as both have no connection. Does Bhatt forget his plot?

Aditya Narayan is surprisingly super confident. He has style, diction and a good screen presence. An ideal launch vehicle for the young lad who is in every frame of the movie. Shweta gets no scope as she slips into a coma in the second half.

It's a relief actually, when the movie ends.

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