Producer: Nitin Manmohan- Neha Arts
Director: Anees Bazmee
Starring: Ajay Devgan, Akshaye Khanna, Urmila Matondkar, Seema Biswas, Farida Jalal, Vijayendra Ghathge, Neelam and Nirmal Pandey
Music: Ismail Darbar
Lyrics: Salim Bijnori, Nusrat Badr
Singers: Kavita Krishnamurthy, Sonu Nigam, Sunidhi Chauhan, Udit Narayan, Babul Supriyo, K.K., Mahalaxmi and Jaspinder Narula
Audio On: T-Series
Number of Songs: 11
Released on: September 15, 2002
Reviewed by: Narbir Gosal
Reviewer's Rating: 7 out of 10

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After many casting and production setbacks, Anees Bazmee is finally releasing his next offering Deewangee in November. The film is a remake of the Richard Gere, Edward Norton starrer Primal Fear were Akshaye Khanna takes on Richardīs role and Devgan steps into Nortonīs shoes. The film of course has been re-written to add in Urmila as a singer/dancer. For the music Bazmee made an interesting choice of Ismail Darbar who comes up with some decent tunes. Darbar has already given us a near masterpiece in Devdas earlier this year, while almost loosing it in Shakti- The Power which was quite a let down. Here Darbar makes significant improvements with the help of lyricists Nusrat Badr and Salim Bijnori, not to mention his favourite Kavita Krishnamurthy.

The album starts off with the magnificent melody Pyar Se Pyare Tum Ho. Sonu Nigam and Kavita Krishnamurthy give a vibrant rendition to this instantly likeable tune. The haunting melody is full of classical instruments which compliment the singers voices very well. Kavita shines, hitting each and every note with ease and Sonu provides a perfect foil with his soothing voice. The humable composition is simple but with a rustic appeal. Ismail Darbar makes a wonderful love song using very ordinary instruments, but the flute stands out amongst them all. The song is also well written courtesy Salim Bijnori. This song features later on the album as an instrumental which uses the violin very well, and as a sad version by Sonu Nigam.

Next up Darbar takes on a more gloomy tone with the title track Deewangee. Think Roundhe from Pyaar Tune Kya Kiya but slightly more fast paced. The song has a very dark feel to it courtesy the sinister sounding composition. Itīs not really a catchy track, and luckily it doesnīt last too long either, but it is an interesting interlude. Sunidhi Chauhanīs vocals fit the song very well and she sings with style, however it doesnīt do much to lift the track to any new heights. The track is repeated in a different version later on in the album. The second version is sung by K.K. and Mahalaxmi, and is just about the same, it doesnīt leave any lasting impression on the listener. Nusrat Badrīs lyrics are decent.

Sonu Nigam and Kavita Krishnamurthy join forces once again for Saasein Saasein Hain. The song starts off very well thanks to Sonu. The composition changes once Kavita enters. The tabla ushers in a more classical feel to the track and carries it through to the finish. Both of the singers do a great job, but Kavita really brings energy to the song thanks to her refreshing rendition. The song takes a while to grow on you, but it catches on fast, Iīm sure you will agree that is it worth a rewind. Salim Bijnoriīs lyrics are also well written keeping the romantic mood in tact.

Saat Suron Ka follows with Kavita accompanied by Udit Narayan. This song is repeated again on the next side as a solo by Kavita and it is obvious why, she works very well under Ismail Darbarīs compositions. Udit also does a good job in the duet, but the song itself is nothing special. The composition bears a passing resemblance to Bairi Piya in some portions, but doesnīt turn out as infectious as the aforementioned tune. Instead this one is slightly boring for the most part and even Salim Bijnoriīs lyrics coupled with Kavita and Uditīs vocals canīt save it.

Ai Ajnabi takes the same route as the title track. Sung by Sunidhi Chauhan it is another dreary number but very well sung. The composition is an infusion of synthesized beats and classical undertones which come forth during the second verse. The song itself will not find many takers because it has no repeat value. Salim Bijnoriīs words have no effect on the listener either. In short, this one will either appeal to you or bore you.

What Ismail Darbar soundtrack would be complete without a Dhol number. Here we get Dholi O Dholi sung by Kavita Krishnamurthy and Babul Supriyo. The song really reminds one of Dola Re Dola especially in the opening portions. Heavily percussion based, it is obvious that Darbar does well with these type of numbers, but this one is a bit of a let down as well. The two singers do a good job with their parts and Salim Bijnoriīs lyrics are also passable, but the songsīs charm wears off after a few listens.

To end off the album Ismail Darbar ropes in Jaspinder Narula to croon the upbeat Hai Ishq Khata. The song is up tempo and very enjoyable. It is over composed in some portions, there are too many instruments and sounds merging all at once, but still comes out a winner. Arabic influences are subtly placed within a heavy percussion composition creating a song which will definitely hit the charts and be a delight to watch on screen as well. Jaspinder Narula gives it her best and comes out shinning. Itīs great to hear her in a hit number after a long time. Nusrat Badrīs lyrics are also well written and fit the mood of the song. This one will be a chart buster.

Ismail Darbar does a better job on this album than he did in Shakti- The Power. He infuses a lot of different styles into the songs, much like he did in Tera Jadoo Chal Gaya. The songs have a modern touch to them but he does add classical touches here and there. The effect is a pleasing album, which may not be a masterpiece like Devdas or even Hum Dil De Chuke Sanam, but still shows that Darbar can work well with an out and out commercial venture as well. The pick of the lot are definitely the haunting Pyar Se Pyare and Hai Ishq Khata, but the other tracks do add to the albums overall appeal. A CD buy may not be recommended, but this one is a good addition to your cassette collection.