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Ghajini
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	Guzarish	Media Player-128 Kbps
	Aye Bachchu	Media Player-128 Kbps
	Kaise Mujhe	Media Player-128 Kbps
	Behka	Media Player-128 Kbps
	Latoo	Media Player-128 Kbps
	Kaise Mujhe - Instrumental	Media Player-128 Kbps

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Music Reviews

By Joginder Tuteja, November 24, 2008 - 09:13 IST EXPECTATIONS Huge with a capital H - That's the best way to describe the expectations that one has from the music of Ghajini. An Aamir Khan project is always big. When A.R. Rahman gets involved, it only becomes bigger. And when it's a project like Ghajini, which is a hardcore commercial fare, it has to be of one of the biggest, if not 'THE' biggest soundtrack of the year. Add in a name like Prasoon Joshi, who writes the lyrics for the film and you know that there is just no room for any error whatsoever. So what do we get here? Let's read on! MUSIC Ever since the music release of Roja, the common saying for almost a decade and a half has been - 'Rahman's music takes time to grow'. That has indeed been the case for some of his best work ever which has gone on to be huge commercial success. Now imagine his music appealing to your ears in the very first go itself! The results are meant to be fantabulous and immediately acceptable, something which happens in case of Ghajini. A.R. Rahman truly creates a soundtrack which makes an instant impact and yet retains the classy touch which is expected from him, especially noticeable in songs like 'Guzarish' and 'Kaise Mujhe'. Both being complex compositions due to the kind of variation that Rahman brings in spinning a melodic tale, 'Guzarish' and 'Kaise Mujhe' work and how! While 'Guzarish' is sweet-n-saccharine with Bollywood romance at its best, 'Kaise Mujhe' reminds of the kind of work that Ismail Darbar has been doing ever since his Hum Dil De Chuke Sanam days. Slow and pensive, it has a classy feel to it and sound even better in its 'instrumental' version. Someone bring on that 'Karaoke' please! Only Rahman could have made something like this possible and if you have been a fan of 'Latka Dikha Diya Tumne' (Hindustani), then be sure that 'Aye Bachchu' would get the house on fire, which is a foot tapping track that is way beyond the likes of 'Shano Shano' (Yuuvraaj). It is a party track which has an out and out Western rhythm to it and should be quite some eye candy. Ditto for 'Latoo' which is heavy on orchestra, rightly so since the genre of the number requires that to be the case. The only number which is 'un-Rahmanish' in appeal and appears to be coming from the house of Pritam or Vishal-Shekhar, it is fast paced and boasts of an instant recollection quotient. 'Behka' could well be the 'Main Aisa Kyon Hoon' (Lakshya) moment for Aamir Khan in the way it is has been composed. The most unique composition of the album and something which Rahman has attempted after a long time. 'Behka' has an international sound in the way it is paced and arranged. Especially watch out for the 'antara' portion and you know for yourself that what sets it apart from any other Rahman song you would have heard in the recent times. LYRICS With Prasoon Joshi around, lyrics are bound to be not just impressive but even way different from what one hears in a regular Bollywood album. Whether it is the poetic feel of 'Guzarish' or the intoxicated feel of 'Behka', Prasoon is in full form here. Of course when it comes to bringing on some fun on the house, 'Aye Bachchu' and 'Latoo' win hands down. VOCALS Javed Ali makes best use of the opportunity that he gets with 'Guzarish'. First 'Jashn-E-Bahaaran' and now 'Guzarish', the young man is certainly looking up in his career. Another new singer, Benny Dayal, who made a worthy debut with 'Tu Meri Dost Hain' (Yuuvvraaj), is good once again in 'Kaise Mujhe'. What comes across as a pleasant surprise is to see Shreya Ghoshal letting her hair down for 'Latoo', a kind of track which, on any other day would have fell in Sunidhi Chauhan's lap. Suzanne, who continues to make an impression with every opportunity that comes to her, knows that 'Aye Bachchu' is the number for the dance floor and she gets the right attitude in place to justify her presence in the song as the chosen one. OVERALL Ghajini is what one calls as a chartbuster album in the offering. Clearly boasting of Rahman's best soundtrack of the year (yes, it is better than Jaane Tu Ya Jaane Naa, Jodhaa Akbar, Yuvvraaj and Ada), Ghajini in fact, sees Rahman-Aamir collaboration being successful yet again after some of their best work together in Rang De Basanti, Lagaan: Once Upon A Time In India and Rangeela. The music of Ghajini is all set to make waves way into 2009 after the Christmas release of the film. When 'best of the best' list would be compiled at the year end, it would be hard to ignore Ghajini. OUR PICK(S) 'Guzarish', 'Behka', 'Aye Bachchu

Ghajini Movie review


Aamir Khan suffers from short-term memory loss in Ghajini, a cerebral disorder by which his memory lasts only for 15 minutes. Seemingly director A R Murgadoss suffered from the same while deriving from Memento, for he seems to have retained only about 15% of the original masterpiece and fabricated the rest as per his formulaic sensibilities.
So while you still have the Polaroid camera, post it notes and a tattooed body from Memento, the nonlinear narrative and conspiracy theory is compromised for a prolonged romance track and exaggerated revenge drama. Sadly gimmicks like 8-pack abs or trimmed hairline can't cover up loopholes of a flawed script.

Sanjay Singhania (Aamir Khan) has been hit on the head which gives him recurring bouts of amnesia, almost every fifteen minutes. He is hunting for a person named Ghajini (Pradeep Rawat), and to remember his target, he has inscribed his initials and related clues on his body, has pasted post-it notes all across his apartment and carries a Polaroid camera to click pictures of people important to him.

An investigating officer gets hold of his daily diary that gives a background account of his character. Sanjay is an affluent industrialist and falls in love with a girl named Kalpana (Asin). The diary changes hands from the inspector to a medical student (Jiah Khan) but the flashback account continues to stretch from the first half to the second with a long-drawn-out love story between the two. With ample song-dance-romance, the story is Indianized but that's the only redeeming factor for the director fails to exploit the psychological side of the story.

Don't cry a spoiler when I say that Ghajini killed Kalpana since that is awfully obvious from the very start with the tattoos on Sanjay's body and his quest to kill Ghajini. And if you still expect a twist in the tale for some suspenseful impact, be prepared to know that this one just ends up being a regular revenge drama. The action sequence in the climax is shamelessly stretched, as long as Sanjay can sustain his memory, for fifteen literal minutes.

At its core, Ghajini is essentially a romance track culminating into a revenge drama. Only externally it is sewed up with the memory loss syndrome which could have been the highlight. And even the memory loss isn't sensibly justified in the script. The major flaw of the film is how Sanjay remembers Ghajini's sidekicks and traces them from nowhere. Almost every scene seems to have been written to cover up the earlier penned scene.

The length could surely have been trimmed for the extra runtime doesn't add to the conviction like in a Lagaan or a Jodhaa Akbar. A R Rahman's music is melodious and songs are choreographed with typical South Indian flamboyancy. Strangely the background theme piece sounds like Sare Jahan Se Acha.

Aamir is not bad but one expects more from the actor than Rajnikant style amplified-action sequences or anger bouts reminiscent of a hysterical Kamal Hassan from Abhay. Asin is pleasing and Jiah Khan is decent. Pradeep Rawat hams in the title role.

If you are expecting an intelligent psychological suspense thriller, watch Memento. If you are looking for an intense desi action masala watch the Tamil Ghajini. For the Hindi version doesn't show much difference other than trimming the twin villain from the original into a single baddie. By now we are prone to digesting the exaggerated action in south cinema. It would still take some time to accept Aamir Khan doing the same. Rather, the question in first place is, would we ever want to accept Aamir in such avatar?

Guzarish Lyrics
Tu meri adhuri pyaas pyaas
Tu aa gayee mann ko raas raas
Abto… Tu men adhuri pyaas pyaas
Tu aa gayee mann ko raas raas
Ab to tu aa ja paas paas
Hai guzarish Hai haal to dil ka Tang tang
Tu rang ja mere Rang rang
chalna mere
Sang Sang
Hai guzarish Kah de tu haan to zindagi
Jhamo si chhoot ke hansegi
Moti honge moti ration mein Yai…yai…yai Tu meri adhuri pyaas pyaas
Tu aa gayee mann ko raas raas
Ab to tu aa ja paas paas
Hai guzarish Sheeshe ke khwab leke
Raaton mein chal raha hoon
Takraa ha jaoon kahin Aasha ki lau hai roshan
Phir bhi toofa ka dar hai
Lau bujh na jaaye kahin Bas ek haan ki guzarish
Phir hogi khushiyon ki baarish Tu meri adhuri pyaas pyaas
Tu aa gayee mann ko raas raas
Ab to tu aa ja paas paas
Hai guzarish Hoon…….hoon…..hoon
Hoon…hoon…hoon Oye…oye… Chanda hai aasman hai
Aur baadal bhi ghaney hain
Yeh chanda chhup jaaye na Tanhayee das rahi hai
Aur dhadkan badh rahi hai
Ek pal bhi chaien aaye na Kaisi ajab daastan hai
Bechainiyan bas yahan hain Tu meri adhuri pyaas pyaas
Tu aa gayee mann ko raas raas
Ab to tu aa ja paas paas Hai guzarish Hai haal to dil ka Tang tang
Tu rang ja mere Rang rang
Bas chalna mere Sang sang
Hai guzarish Keh de tu haan to zindagi
Jharno si chhoot ke hansegi
Moti honge moti rahon mein
Yai…yai…yai… Tu meri adhuri pyaas pyaas
Hoon…hoon…hoon…
Hoon…hoon…hoon…
O’ho.O’ho… |j O’ho.-.O’ho…


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