Mirror’s Bhansali’s Music Sense
By Nishevitha Vijayanand, MovieTalkies.com, 11 October 2013
Ram Leela is drector Sanjay Leela Bhansali’s take on the classic Shakespearean tale of Romeo and Juliet and stars Ranveer Singh and Deepika Padukone in lead roles. The director’s ear for music is well known and therefore it comes as no surprise that he has also composed the music for this film with lyrics being provided by Siddharth-Garima. Music forms an intrinsic part of Sanjay Leela Bhansali’s movies so much so that one has come to expect nothing but the best from these movies, especially in the Music department. It is with this high expectation that one starts listening to this soundtrack.
The very first track, Ram Chahe Leela manages to throw the listener completely off-track since this is the sort of number that one does not really expect in a SLB film. This folk-rock fusion track has been sung stupendously by Indian Idol contestant, Bhoomi Trivedi. The lyrics are simple with everyday lingo including a couple of English words like “simple”, “balcony” and even “funda” thrown in for good measure. The effect is that the song has turned out to be quite catchy and foot-tapping and proves to be a decent start to this album.
Lahu Munh Lag Gaya sees SLB collaborating with one of his favorite singers, Shail Hada. The rustic tunes of Gujarat prove to be the inspiration for the musical arrangement of this song and Shail Hada’s vocals add that extra touch of authenticity to this number. Though well sung, it is not really a number which will enjoy universal popularity. At best, it might cater to only a niche audience.
Another Indian Idol Contestant, Aditi Paul takes centre-stage and manages to showcase her wide range of vocals effortlessly in Ang Laga De, a slow and seductive number along with Shail Hada who provides good support. This is yet again the kind of number which may appeal to those who like slow and soothing melodies and may not prove to be a blockbuster but that said, one cannot deny the fact that the effect of this melody would be manifold in its visual form and SLB being a proven master at this, one can expect nothing short of sheer magic on-screen.
The soundtrack of an SLB film is incomplete without the metaphorical comparison of the heroine’s face to the moon. Poore Chand is that number and has been rendered yet again by Shail Hada. But it does not have the same kind of hypnotic effect as say a Chand Chhupa Badal Mein from Hum Dil De Chuke Sanam. Nevertheless it is a decent hear.
For Nagada Sang Dhol, SLB takes inspiration from his own Dholi Taaro( from Hum Dil..) with even the words sounding very similar to the latter. But to his credit, Nagada Sang Dhol does manage to take a form of its own over the course of the song with the traditional instruments like dhol and nagada adding authenticity to what can indeed be described as a beautiful Garba number. Full credit to Shreya Ghoshal for infusing this track with the kind of passion and emotion that was required for a number such as this one.
Arijit Singh is a revelation in Laal Ishq! Though the lyrics sound romantic, there is a sense of tranquility on hearing this number with its slow and soulful music literally transporting the listener to musical heaven. Arijit has never sounded so mature and so wonderful. Here is a singer who has taken it upon himself to prove that he is not going to be a one song wonder and goes all out to showcase his range in a song which might not prove to be a blockbuster but will surely stand testimony to his musical versatility.
Ishqyaun Dhishqyuan stands out like a sore thumb in this album which till now has been filled with soulful melodies. Meant to be a chhed-chaad number, it has Aditya Narayan behind the mike who manages to do a decent job but is totally letdown by a very average composition and insipid lyrics.
Mor Bani Thanghat Kare’s folk flavor is what manages to attract the listener’s attention when heard for the first time though the fact remains that its Gujarati lyrics might restrict its popularity. SLB has always been known for showcasing the regional flavor in almost all his films and with Mor Bani he succeeds in unfurling rustic Gujarat in full bloom. Add to that Osman Pir’s earthy vocals (complemented by Aditi Paul’s wonderful voice), what one gets is traditional Gujarat served on a platter!
Dhoop’s haunting melody falls totally in Shreya Ghoshal’s territory and it is indeed no wonder that she excels in her solo rendition of such a complicated and layered melody. SLB’scomposition is poignant and endearing and makes it a must hear.
The final song in this soundtrack has Aditya Narayan singing the hero-introduction song Tattad Tattad, with aplomb. It is definitely more massy than most of the songs in the album and might enjoy a good run in the music charts during the film’s release but its sustenance in the long run is questionable.
Overall, the Soundtrack of Ram-Leela is a mixed bag with some wonderful melodies co-existing with some very average numbers. This is not the kind of soundtrack that will appeal to a universal audience but its overall quality is surely on the higher side. Sanjay Leela Bhansali’s third attempt at music composition after Saawariya (Thode Badmaash) and Guzaarish (entire album) is indeed a praise-worthy effort and mirrors his music sense perfectly.
Our Picks: Ram chaahe Leela, Nagada Sang Dhol, Laal Ishq and Dhoop.