Yeh Jawaani Hai Deewani Review  

Yeh Jawaani Hai Deewani Review  

Music: PRITAM Lyrics: AMITABH BHATTACHARYA & KUMAAR Label: T-Series Expectations A hot star pair, a…  

<B>Music: PRITAM</B><BR> <B>Lyrics: AMITABH BHATTACHARYA & KUMAAR</B><BR> <B>Label: T-Series</B><BR><BR> <B>Expectations</B><BR><BR> A hot star pair, a top banner's first-time association with a leading composer and a prime music label, and a youthful subject loaded with romance. Expectations just have to be gargantuan.<BR><BR> <B>Music</B><BR><BR> Pritam's score fulfils our expectations - and more. For starters, if at all there is a current catchphrase of the youth, it is decidedly '<B><i>Budtameez Dil</i></B>'. Beginning with a deceptively slow riff that is either saxophone or some variety of trumpet before it settles into a feverish pace, the track is inundated with lyrics (Amitabh Bhattacharya) that at casual hearing are full of nonsensical words - but there's a method to the madness. The song about the shameless abandon of a youthful heart that is yet to become mature and is enjoying its phase of <i>budtameezi</i> (impudent bahaviour) has a very high identity quotient with the youth because of the high-energy tune and will become an anthem in the days to come. <BR><BR> Benny Dayal, a Rahman find (<i>Jaane Tu...Ya Jaane Na</i>) who has been languishing with largely mediocre numbers, gets a new life with this spirited track. His co-singer Shefali Alvares, as always, is distinctive with her nasal twang and command over both Hindi and English. <BR><BR> '<B><i>Balam Pichhkari</i></B>' (Vishal Dadlani-Shalmali Kholgade-Supriti) starts with a prelude by Supriti before escalating its tempo gradually. Shalmali has a nice vocal texture but needs to tone down her Anglicized tenor, which is at odds with her (correct) Hindi diction. Vishal gets into the <i>mazedaar</i> mood of the contemporary Holi song, which has already become a rage because of its crazy energy. Pritam keeps the orchestration intentionally noisy and a bit cluttered and there is a hint of techno more than folk. <BR><BR> The next song that is completely enjoyable is lyricist Kumaar's only song, '<B><i>Dilliwali Girlfriend</i></B>', with its clever blend of English and Hindi and unadulterated irreverence. The sense of mischief seems natural and the reference to <i>Golmaal</i> is quite witty. Here's where a different Arijit Singh, along with the seasoned Sunidhi Chauhan, keeps the track on a high keel. <BR><BR> Interesting guitar grooves and an innovative chorus lift '<B><i>Ilahi</i></B>' (Arijit again) by notches, but this is a song that is clearly meant to rivet the listener only with its hooks and catchy riffs. The words get into 'trendy' overuse of Urdu, which makes this song a phonetic delight where the (ambiguous) meaning is not important. Its reprise version by Mohit Chauhan is a bit toned down but much more feelingly sung. <BR><BR> Another song in two versions is '<B><i>Kabira</i></B>'. Tochi Raina gives it his all and the end guitar in relentless mode is simply fabulous. Rekha Bhardwaj is in customary comfort zone in a mix of <i>raags</i> and rock. <BR><BR> The reprise version of this song has a folk colour with Harshdeep (of Rahman, Himesh and <i>Guzaarish</i> fame) blending the familiar Punjabi wedding folk with Arijit coming in for the rest of the song. Strangely, Arijit seems to be singing mechanically. This version does not impress as much. <BR><BR> '<B><i>Subhanallah</i></B>' (Sreeram Chandra-Shilpa Rao) has a fake soulful quality and is the only track on the score that does not remain in memory despite repeated listens. <BR><BR> '<B><i>Ghagra</i></B>', filmed as we know on Madhuri Dixit-Nene and Ranbir Kapoor, yearned for a mainstream female singer that could have lent it more verve and froth, though Rekha Bhardwaj's singing technically cannot be faulted. By contrast, Vishal Dadlani's nonchalant and dismissive tenor is in perfect sync with the fun lyrics. Pritam could have also made this delicious number bigger with a broad canvas rather than having such minimal orchestration. But we are not really complaining! <BR><BR> <B>Overall</B><BR><BR> Music is the key to the success of a romantic film and in that respect, <i>Yeh Jaawani Hai Deewani</i> is extremely fortunate to have a foot-tapping music score that will take the film places. In most tracks Pritam is in his element and carries on the mega-musical heritage of Dharma Productions' best musicals, a legacy that began with the 1980 <i>Dostana</i>. This is his third consecutive ace with Ranbir Kapoor (after <i>Ajab Prem Ki Ghazab Kahani</i> and <i>Barfi</i>! - there was also '<i>Bheegi Si Bhaagi Si</i>' in <i>Raajneeti</i>) and his fifth ace with Deepika Padukone too (<i>Love Aaj Kal, Desi Boyz, Cocktail</i> and <i>Race 2</i>). Way to go! <BR><BR> <B>Our Picks</B><BR><BR> <i>Budtameez Dil, Balam Pichkari, Dilliwali Girlfriend, Ghagra, Ilahi, Kabira</i>