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 Traffic Signal
Director :
Music :

Lyrics :

Starring :
 Madhur Bhandarkar
 Raju Singh, Shamir Tandon, Hardip Sidhu, Prempal Hans, Sandesh Shandilya
 Sameer, Kailash Kher, Jagjit Singh, Khilesh Sharma,
 Neetu Chandra, Kunal Khemu, Konkona Sen Sharma, Ranvir Shorey, Sudhir Mishra, Upyendra Limaye, D Santosh, Sameer Khan, Sandeep Kulkarni, Manoj Joshi, Nassar Abdulla, Madhu Sharma

By Satyajit, Bollywood Trade News Network Send to Friend

Madhur Bhandarkar’s ground-breaking cinematic skills perpetrated the soul under skin of Mumbai city centric lives with panache. It unraveled through the glitzy and voluptuous reservoir of “rich and famous” in PAGE 3 and took microscopic contort at posh corporate regimes in CORPORATE. Bhandarkar’s tryst with thought provoking cinema takes a bow on “underbelly” of Mumbai city with TRAFFIC SIGNAL.

TRAFFIC SIGNAL completes this trilogy but runs parallel to the early two as it crankshafts into dungeons lifestyles of bunch of underprivileged living besides the traffic signals. Shamir Tandon is back with business and this time he emotes rather than composes in couple of literally profound soundtracks. Even this times the music talks more than entertains in multi-voiced rendition clubbed with bountiful of bonus tracks by Kailash Kher, Nusrat Fateh Ali Khan and Ghazal maestro Jagjit Singh.

Boisterously pitched and backed effervescently with synchronized ear-splitting instrumental, it bursts out emotions of “signal” dwellers at sweltering pace with techno-beats in highly spirited “The Spirit of Signal”. Guest composer Raju Singh pelts out with grace to give album a deserving prelude but it works temporarily as promotional device for the film.

It talks about vicissitudes of life with Hariharan’s soulfully crooned baritones adding saccharine n spice in sentimentally divine “Yeh Zindagi Hai to Kya Zindagi Hai”. Tandon’s fixation for “Zindagi” finds new passion in Hariharan with strong tinge of pop and jazz feel by Sangeet Haldipur as background crooner. This soulful outburst limits itself to situational metaphors than harmonic delight.

The pensive emotional mode is resurfaced with dollops of romanticism in well versed “Na Jis Din Tere Meri Baat Hoti”. It flashbacks into 80’s era for its conventional musical beats and rhythm patterns sung with ease and poise by Kunal Ganjawala and new talent Yogita Pathak. It has an air of serenity for silent lovers with a situational touch of lost paradise in a world of love and desire.

It has positively found fancy of producers as it gets revamped in somber tonal textures of veteran Bhupendra Singh in “Na Jis Din Tere Meri Baat Hoti-2”. This principal soundtrack conglomerates the sensitivity and congeniality of “signal” dwellers through philosophical lyrical depth. 

“Aai Ga”, a traditional “lavani” festive bash, transforms into world of jubilations as vocals outbursts rules the show. Vaishali Samant along with Bhavika is full throttle as the celebrations goes wild with rumbustious traditional instrumental beats and notes. The rustic feel emanates through perfect accented vocal through singers should captivate the “Maharastrian” youth brigade.

DJ Ameolon with Salil Amrute give it a “yuppie” feel through their techno-wizardry in highly energetic
“Aai Ga (remix)”.

Now the finale “Signal Pe” comes in theatrical rendition as voices coagulates to give a collage of happenings on “traffic signals”. It talks rather than sings about dwellers drawing livelihood through people waiting at “traffic signals”. Baba Sehgal, Vinod Rathod, Raj Pandit, Neerja Pandit with surprise element Navin Prabhakar (“Pehchaan Kaun” fame comedian) voices for them in hilariously dramatic way. Skip it but watch it going live on screens as it may metaphors the sentiments with the “happenings”.

Shamir Tandon communicates mediocre show by delivering a pack of situational tracks with a tinge of traditional number. It seems that low profile was predicted as the album was accommodated with almost half dozen bonus tracks. The album will have few takers and that too will be from classes but still have the situational gripping that might work for film success.

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