To say that expectations are cosmos shaking from the audio of film maker Sanjay Leela Bhansali’s upcoming Christmas extravaganza, BAJIRAO MASTANI, will be an understatement as all his films have boasted of some memorable super hit music.
Ganesh Chandanshiv commences ‘Deewani Mastani‘ with superb Marathi rendition praising the female lead and Shreya Ghoshal takes up from there with a par excellence performance. Arrangements and chorus are grand, the ‘qawwali’ part rendered by Faridi brothers (Farhan, Altamush and Shadab) spell binding, though the DEVDAS hangover is evident in some parts.
Bringing back memories of the famous Tansen rendition romantic moment between Dilip-Madhubala (MUGHAL-E-AZAM), the song ‘Aayat‘ starts in almost a similar manner. Just the man to croon the slow, soft almost ‘ghazal’ like romantic ballad, Arijit is class as always. Mujataba Aziz Naza and Shadab Sabri provide the soulful sufi type background chorus. The use of numerous Urdu words do make the song sound out of place in the scheme of things (if picturised on Ranveer).
Conch shells sounds that appear like a war cry herald the celebratory song ‘Malhari‘ and is situational in nature, most probably celebrating a grand victory with whistles and song and dance. Vishal Dadlani puts up a zealous and enthusiastic rendition.
Almost semi-classical in nature, the neo-nightingale Shreya Ghoshal enthrals all with a picture perfect rendition in ‘Mohe Rang Do Laal‘. The lyrics of the song remind us once again of ‘Mohe Panghat Pe ‘ (MUGHAL-E-AZAM), and in fact the composition is in the same corridor, carrying the same spirit as the evergreen classic.
The same conch shell war cry commences ‘Albela Sajan‘. Bhansali had used the famous Rajasthani folk song in HUM DIL DE CHUKE SANAM, here it is a song sung in chorus (by Shashi Suman, Kunal Pandit and Prithvi Gandharva) and most probably celebrating the return of the Peshwa to his ancestral home.
Adorned with nice Hindustani musical arrangements, the semi-classical, ‘Ab Tohe Jaane Na Doongi‘ is a slow, sombre number sung well by Payal Dev, with support from Shreyas Puranik. In the same corridor as ‘Aaj Jaane Ki Zid Na Karo’ and ‘Na Jaao Saiyyan’ the song is a tad too sedate.
‘Pinga‘ is making (controversial) waves on the musical front, with know-alls of Marathi folk asserting that tune (and lyrics) have (almost!) been directly lifted from the iconic Marathi song ‘Latpat, Latpat Tuza Chalana’ from legendary filmmaker V Shantaram’s AMAR BHOOPALI (1951) and ‘Nach Ga Ghuma’, from another V Shantaram classic, CHANDANACHI CHOLI ANG ANG JAALI (1975). All that aside, the superb dance number stands tall because of its lovely rhythm, orchestrations and choreography. Also, comparing it to ‘Dola Re’ will be unfair but for arguments sake, ‘Dola Re’ was class apart.
Popular ‘bhajan’ ‘Mangalam Bhagwan Vishnu’ commences ‘Aaj Ibaadat‘ which is a unique semi-classical sufi composition where ‘bhajan meets naat’ (Muslim devotional ode). Javed Bashir springs a surprise with a Hariharan like polished rendition, and is supported well by back up vocalists Shadab Faridi and Altamush Faridi.
Ganesh Chandashiv is back with his haunting Marathi rendition as he commences ‘Fitoori‘, which is a nice catchy item/ dance number that has touches of Arabic and Marathi! Vaishali Mhade renders the sensuous, seductive number with full on emotions and zeal.
Last but not the least, Maharashtra’s most popular ‘bhajan’ devoted to Lord Ganesh (Ganapati) forms the basis of ‘Gajanana‘, and Sukhwinder is just the right choice for this number that will surely transform superbly on screen.
To sum up, BAJIRAO MASTANI has more than the class associated with a Bhansali venture (our rating is based on that!), and it fits into the theme and scheme of the movie perfectly. However, it lacks the universal and infectious appeal that the team’s last venture, GOLIYON KI RAAS LEELA- RAAM LEELA, carried. While we are overwhelmed with – ‘Deewani Mastani’, ‘Aayat’ ‘Pinga’ and Aaj Ibaadat’, the popularity and commercial prospects of the soundtrack will depend upon how the present generation reacts to it. And we are saying that based on the cold response to the recent PREM RATAN DHAN PAYO audio album, from the GenX.
Music Review Rating Chart :-
Excellent – 4.5 & above
Very Good – 4
Good – 3.5
Average/Passable – 3
Pathetic – 2.5 & below
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