Vivah
In the times when every film maker, whether big or small, is
making big news about his film from the announcement stage itself, Sooraj
Barjatya, in typical Rajshri Productions way of film making, has kept low
profile and wrapped up his film ''Vivah''. Starring the ''Ishq Vishq'' jodi of
Shahid Kapoor and Amrita Rao in the lead roles, ''Vivah'' is being touted as a
''journey from engagement to marriage''. While Sooraj''s first three films Maine
Pyar Kiya, Hum Aapke Hain Kaun, Hum Saath Saath Hain boasted of music by Ram
Laxman, Anu Malik was roped in for ''Main Prem Ki Deewani Hoon''. For ''Vivah'',
Sooraj goes back to veteran Ravindra Jain for compositions and lyrics.
Incidentally ''Vivah'' is his 17th film with Rajshri.
When compared to some of the high profile pre-release buzz created for music of
biggies in recent months, ''Vivah'' has taken a different approach by being
subtle all this while. Does the subtleness reflect in the music as well? And
above all, does it bring back the vibrant effect of ''Maine Pyaar Kiya'' and
''Hum Aapke Hain Kaun''?
Write your own music review of Vivah
The answer is NO. On second thoughts, it doesn''t even come close to ''Main Prem
Ki Deewani Hoon'', which itself had its share of detractors.
There is a definite Indian feel in the way the opening song ''Mujhe Haq Hai'' is
composed, arranged and presented. A song about a couple being at stage when they
are ready to give themselves to each other and expect the same in return, it is
a ''raaga'' based melody that grows on you, albeit after you have heard it far
more number of times than you may actually give to a song from an average flick.
This Udit Narayan - Shreya Ghoshal song indeed requires immense patience to
continue hearing the song time and again for it to be grasped but eventually
when it does, it sticks to you. Simple, subtle and situational, don''t expect
''Mujhe Haq Hai'' to be one of your quintessential Bollywood love song that
follows an easy going dream world approach!
Pairing of Udit Narayan and Shreya Ghoshal returns with ''Do Anjaane Ajnabi'',
yet another situational song about a couple who are strangers to each other but
are destined to be together soon. The thoughts going in each other''s minds and
the emotional moments they are having something which is common between the two
is the subtext of this song that is good on lyrical quality.
Just like ''Mujhe Haq Hai'', even this track follows a ''raaga'' based approach
but after a close hearing starts sounding quite pleasant. No, it may not appeal
to the ones looking for a ''dhinchaak'' variety but for those looking for
simplicity in their music, ''Vivah'' follows a sweet route.
Third straight duet in a row is crooned by Udit Narayan and Shreya Ghoshal as
the background music heard in the film''s teasers marks the opening of the
track. ''Milan Abhi Aadha Adhura Hai'' is based on melody with usual Barjatya
stamp of music to it but somehow the song doesn''t really appear to be of the
kind that would work outside the film. It is easy on ears but overall the impact
is not of the kind that makes it one of those much sought numbers after you have
heard it a couple of times. A song about two youngsters waiting to be united
forever, it just about passes muster.
When Sooraj Barjatya is at the helm, how could a marriage be behind? Especially
with the film''s title itself being ''Vivah'', it''s all the more identifiable
to have a song like ''Hamari Shaadi Mein''. Babul Supriyo is the male partner of
Shreya this time around and he comes so close to Kumar Sanu in his rendition
that one is actually required to double check the credits. A feel good track
about a guy becoming impatient before his marriage and wanting to hurry up the
entire affair, its musical arrangements are straight out of ''Hum Aapke Hain
Kaun''. First foot tapping number of the album that has a rhythmic appeal; it is
the first and only track in the album that shows potential to become popular,
though a long run for the song is ruled out.
After all the waiting, wooing and marriage comes a family number ''Kal Jisne
Janam Yahan Paaya''. Uhhh, well the song really seems too old fashioned now and
is of the kind that could have been left behind in ''Hum Aapke Hain Kaun'' era.
Agreed that the emotions are universal and families continue to be together but
a song like ''Kal Jisne'' is so situational that it is difficult to imagine it
being played by someone while at home or riding a car. A song about families of
the young couple Shahid Kapoor and Amrita Rao feeling nostalgic about their
children''s upbringing and how they have grown up from being toddlers, ''Kal
Jisne'' by Suresh Waadkar and Kumar Sanu does have an Indian feel, but is
strictly for the situation.
It''s back to the ''Nadiya Ke Paar'' times from the very first note of ''O
Jiji'' where Pamela Jain and Shreya Ghoshal sing for the two sisters who are
conversing about the elder one''s husband-to-be. Belonging to the late 70s style
of compositions; it has a ''pahadi'' folk flavor to it and is again modeled on a
small town setting. Though urban audience would hardly go gaga over the song,
the song may relate to the interiors where such songs are still heard in
Bhojpuri and other local dialect languages.
Sound of trumpet marks the beginning of ''Tere Dware Pe Aai Baraat'', a marriage
procession song where the groom''s ''baraat'' has arrived at the girl''s place.
An extremely ordinary number with nothing new about it, it is an umpteenth
version of dozens of such tracks heard in the past since the 60s. Sudesh Bhonsle
and Ravindra Jain come together to render this song that can be comfortably
skipped. Now it is all left to Sooraj Barjatya as one waits to see how has he
picturized it.
In an attempt to make the album a complete Indian affair, there is an ''aarti''
making an appearance towards the album''s end as ''Jai Gauri Maa''. Sung by
Pamela Jain, this 2 minute track too is not a new experience in itself as one
has been hearing this tune since time immortal in ''Raam Siya Raam'' version
too. Taking the celebration to its logical conclusion, ''Chota Sa Saajan'' is a
80 seconds piece the song for the climax where a father is getting ready for his
daughter''s ''vidaai''. Sung by Suresh Waadkar and Aparnaa Bhaagwat who lends
her vocals for a kid, this is a little different from other ''vidai'' songs
since it doesn''t take a weepy approach and is instead sung with a smile on the
face. On the similar tune comes ''Raadhey Krishn Ki Jyoti'' which is a 2 minutes
''bhajan'' that wraps up the album.
When the album began, one lend an extra hearing or two to the album since it
comes from a reputed production house that has seldom gone wrong on the music
front. That''s the reason why the first 2-3 songs could at least grow on you
after repeated listening.
But the patience runs out towards the middle of the album when one starts
wondering if Sooraj Barjatya was actually focusing on the commercial aspects at
all since 90% of the music is purely situational and that too with not much
commercial ingredients attached to it. In the end, what one gets to hear is an
average soundtrack that doesn''t really make you jump with joy and get the CD on
a repeat mode.
Just about ordinary.
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