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In a rage and age of comedies, writer-director Sanjay Chhel
makes his presence felt through the advent of spoof-cum-dark-humor
stylized comical flick, MAAN GAYE MUGHALL-E-AZAM. After showing
great musical chemistry with the sensuous Mallika Sherawat
in the successful album UGLY AUR PAGLI, Anu Malik makes his
second consequential outing in another Mallika Sherawat starrer
that also boasts of potential actors like Rahul Bose and Kay
Kay Menon in lead roles. In past, Sanjay Chhel's directorial
ventures like KHUBSOORAT (1999) and KYA DIL NE KAHA (2002)
were good musical success that made news with their chartbusting
hit tracks. Does his new brainchild MAAN GAYE MUGHALL-E-AZAM
have the tenacity and audacity to match their high standards?
Will the Mallika-Bose magic work again after PYAAR KE SIDE
EFECTS? Let's find this out!
Naushad's saab ever-green and everlasting melody 'Pyaar Kiya
to Darna Kya' (MUGHAL-E-AAZAM (1960)) and penned by great
Shakeel Badayuni gets a satirically humorous treatment in
the form of a musical comical gag in the title track "Maan
Gaye Mughal-E-Azam". A spunky song that is more of a
visual treat than listening pleasure comes out with hilariously
punched wordings with loads of hip-hop and electronically
paced music. Ishq Bector's racing rap rendition of snazzy
satirical one-liners kick-starts the proceeding that gets
followed by playful sounding Anushka Manchandani and Mahalaxmi
Iyer in their boisterous overtones. Later Shaan energizes
it in his typical singing attire and strikes combustible concoction
with all the sensuous disco moves in making it a scintillating
vibrant soundtrack. If Chhel's comical aesthetics works brilliantly
in serenading out the comical doses on big screen, then it
can well be another historical 'spoofy' affair, similar to
what viewers witnessed in satirical version of epic 'Mahabharata'
in dark comedy JAANE BHI DO YAARON (1983).
Kunal Ganjawala turned iconic figure in filmdom with Anu
Malik's brilliant melody
'Bheege Honth Tere' (MURDER) and again the combination gleams
back together to deliver another sensuously volatile number
in the form of 'Marmari Baahein'. Once again, the common factor
is seductive Mallika Sherwat, but the sensuous feel is not
as ground-breaking as 'Bheege Honth Tere'. It's great delight
to hear and experience Kunal Ganjawala's free-flowing vocals
smoothening out in the textures of subtle and mellowed arrangements.
Mahalaxmi Iyer's intense and resounding voice makes affable
chemistry with Kunal's 'bright as sunshine' rendition. Sanjay
Chhel's delivered romantic overtures in poetically gesticulated
wording are impressive as they gel out deliriously with the
sensuous feel of this impressive sounding seductive number.
This may not be as poignant enough to be comparable to Kunal's
greatest works but certainly has the tenacity of setting the
mood for a delightful romantic evening. The second version
in 'remix' mode (by Blue Zone) comes out with the 'lounge'
mix impact coupled with 'alaaps' and rap rendition. Anu Malik
makes his solitary presence as a vocalist but it is no match
to Kunal's brilliantly rendered original version.
Anu Malik nosedives into the intricacies of the historical
concept of immortal "Mughal-e-Azam" and experiments
out with traditional 'ghazal' works in the voice of Pankaj
Udhas in 'Ek to Sharaab Kam'. This comes out as situational
heartrending song that charters the conventional path of stereotypical
wording in a flow of traditional sounding composition. It's
great to hear Pankaj Udhas back in Bollywood but this is not
the desired outing that could have been termed as his comeback
to the marquee. Even the second version comes out with similar
tempo, mood and flows and fails to impress with its stale
sounding touches.
Comical mood charters out to extra space and territories
in 'qawwali' based satirical melodrama stylized in the contemporary
voices of Sunidhi Chauhan, Sonu Nigam in frothy sounding number
'Ishqiyaan'. Like the title track, this mischievously pumped
funky number is moreover a visual delight than anything melodic
in its contents or rendition. Sunidhi makes remarkable throaty
rendition in the earlier interludes while Sonu Nigam turns
hilariously bizarre in the latter stages. Aftab Hashmi Sabri
renders the 'qawwali' part towards the end. Alisha Chinai
turns out to be replacement as lead vocalist in the 'remix'
version that caters specially for pub-friendly disco freaks.
Do enjoy some fast paced disco beat fillers with sensuously
sounding Alisha and Sonu in a track that can well be worked
out as effective promotional song for the film.
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