Hera Pheri, Hungama and
now Hulchul - Priyadarshan has been
directing multi-starrer comedies with quite ease
for last few years. Hulchul, a Venus production
with Manohar Kanungo as the co-producer, too
boasts of a fine lineup of actors that comprise
of Akshaye Khanna, Kareena Kapoor, Paresh Rawal,
Jackie Shroff, Sunil Shetty, Arshad Warsi,
Arbaaz Khan and Amrish Puri. Supposed to be a
laugh riot, the initial promos have already
created a stir and the movie is being awaited
this winter. With lyrics by Sameer, composer
from the
south Vidyasagar handles the music
front.
Though Priyadarshan is a director par
excellence, his movies were never recognized for
a good musical score. While Hera Pheri
had a couple of good tunes in the shape of item
numbers, Yeh Tera Ghar Yeh Mera Ghar
was a non-starter and Hungama was plain
average despite the Nadeem Shravan tag. One
wonders whether Vidyasagar would be able to
catch the pulse of the music lovers.
'
Rafta Rafta ' by Udit
Narayan and Sujatha takes you back to the music
of another Priyadashan movie ' Doli Saja Ke
Rakhna '. This romantic number has a Rehman
touch while the picturization is situational
with a comic touch as the lead pair of Akshay
Khanna and Kareena seem to be having a
compromise while being with each other! The
number starts off well but after a couple of
minutes becomes quite ordinary.
Shaan and Sadhna Sargam sing ' Hum
Dil Ke ' that is thematically very
similar to another number ' Kissa Hum
Likhenge ' from ' Doli Saja Ke Rakhna
'. Well, this time around the song doesn't
impress much as it is too laidback and there is
complete lack of energy. It is one thing to be
sweet and simple while it is different to be
without any fizz at all!
A
rural based item song comes up as '
Loot Gaye ' that is not a patch on
Anand Raj Anand's ' Loot Gaye ' from '
Mumbai Matinee '. This one is just not
happening with lyrics like ' Loot Gayi Lanka
Ravan Ki ' that comes across as song from a
'cow-belt audience' facing music album. Gayatri,
Sayonara Philip, Poornima and Raja Lakshmi
attempt to do a powerhouse performance, but the
tune fails them and the song falls flat. This is
another item song that doesn't create any
ripples at the music stores.
Till now, the songs have been on a constantly
decline and one wonders if this is the weakest
score ever in a Priyadarshan's movie. Well,
Shaan and Alka Yagnik come to rescue in an
Anand-Milind inspired tune ' Ishq
Main '. A 'Beat One-Beat Two'
number, it is impressive for two reasons. One,
it's zingy beats that makes one start
foot-tapping and two - the choreography that is
situational and gets a comic feel around the
whole number. Overall, a number that can be
heard throughout and is to an extent, enjoyable.
'
Lee Humne Kasam ' is a
number about 'Let's promise we will never
separate from each other' by Hariharan that has
a distinct South Indian flavor. Another weak
link in the armor of Vidyasagar's compositions,
it is very average and one can be safe while
saying that audience will use the song's
duration to get their share of popcorns and cold
drinks in the auditorium.
'
Dekho Zara Dekho '
starts off as a village number by Udit Narayan
but immediately takes a turn towards being a
fast paced track with Kunal Ganjawala joining in
soon. A number again inspired from Anand Milind
who themselves borrowed heavily from South India
maestro Illayaraja; it has a 90's feel. The best
part of the number is that it can be at least
heard completely and has a potential to make for
some good visuals at least if presented well as
it has comical overtones about guys running
after a girl.
In the end, one can say that ' Hulchul
' has nothing extra ordinary to offer. One
expected a Kareena movie to have some decent
tunes that would be blockbuster material but
with an exception of a couple of tunes (that
themselves are again nothing spectacular), there
is not much in the offering. Super success of
Hera Pheri and Hungama have
proved that music may not be the most important
ingredient in such a comic movie and one can as
well hope that Hulchul - the movie, too
follows suit.
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