It’s common practice when a music director and film director or producer have been working together for several films to make statements such as, “We know that he always saves his best for him”, certain examples being A.R. Rahman and Mani Ratnam, Rajesh Roshan and Rakesh Roshan etc. As harsh as it may seem, not a single complimentary comment can be made towards this combination, Anand Raj Anand and Mahesh Manjrekar, except that their combination provides for one or two numbers that fade away in time. For this dramatic film sub lined, “Never Test A Father’s Patience”, the only comparable recent soundtracks are Lagaan and Gadar (won’t classify Asoka in the periodic category), since this film too is a period film in the backdrop of the true Indian culture. Sanjay Dutt will be in traditional Indian attire through out the film and there should be no commercialism in site! Well when a different film is around could Nandita Das be far away?! Pity that the soundtracks has only three numbers that will flow with the theme of the film, and those too that will only appeal to the classes. Let’s face it, we can’t compare it to Lagaan (or any other soundtrack this year), but even Gadar had an edge over this. For the one or two numbers, I liked it, but we all know the masses will trash it faster than you can say, “Pitaah”. If it were all as irresistible as “Humko To Ishq Aap Ka”, perhaps then we’d have a Zubeida or a Gadar. Let’s just forget about the obvious influence from hundreds of classical songs from the past, most noticeably Umrao Jaan, and enjoy this tabla based composition whose lyrics courtesy Pravin Bhardwaj are not at all classical but simply enjoyable. Given all the mass appealing, “Take A Chill Pill”, “Tote Tote Ho Gaya” numbers that Anand has been dishing out since he started his music compositions this is quite an accomplishment, even if it is nothing new for its genre. Especially given the way he introduces the track into fooling us in thinking it is another teaser track. Kavita Subramanium is absolutely endearing in her rendition, not perfect, but irresistible nonetheless. I loved it for the tabla, the harmonium, the interludes and Kavita Subramanium’s singing, but only the classes will. Sit down and actually contemplate the meanings of “Putra Parishta” penned by Shri Desai a Sanskrit Shloka composed by Rahul Ranade and the opening Shloka whose credits are oddly missing on the original CD. If you’re reputable in Sanskrit and the several religious books dealing with the language you’d actually be surprised at how relevant the shlokas are, not only to “Pitaah” but to our historic tales as well. Rahul Ranade and Ravindra Sathe are quite effective in their renditions in a deep solemn aptitude, specifically in the tense repetitions of Pit-aah, Pit-aah. Clap your hands, these three songs are actually relevant to the film, the narrative, the story, and are quite effective in depicting a level of seriousness that film promises to convey. This is much unlike all of Manjrekar’s previous soundtracks. What possessed Sunidhi Chauhan! (Easily substitute Anand Raj Anand and Manjrekar for allowing her to sing at atrocious altitudes and tones and allowing the song to be included on the soundtrack!) “Meri Jawani” can’t even amount to Himesh Reshammiya’s item numbers in Kurukshetra, yet the poor attempt at trying to make it sound like them sounds absolutely awful. Easily the worst song on the soundtrack and easily mind boggling as to the relevance to the film. To add to this agony, we are forced into hearing another song about this sexy woman´s shawl (dupatta), as if Sameer hadn´t spoken about that a hundred times already! We all know Manjrekar likes these cabaret numbers, but since he is really tackling a period film, could we have perhaps had a “Mehbooba Mehbooba” (Sholay) here? Again, the relevance of ´Nadiya Kinare Aao´ to the overall film is hard to decipher from its lyrics and while a passable tune its listen able qualities are nominal. Again, romantic songs are included in period films! At least make them distinguishable or unique, (Is A.R. Rahman the only one that can give us another “O Re Chori”?) For whatever it is worth Sonu Nigam and Kavita do a good job into infusing life into this run of the mill play with the dholak love song. The title track, “Pitaah”, is indeed lyrically a notch above the rest. Combined with a good vocal round by Udit Narayan and you would think you’d have a tune that would tug at your heart for years to come. Think again. This is no “O Palanahare”! Primarily because Anand Raj Anand has seen it fit to include some upbeat music in the background for what is supposed to be an emotionally touching song! His backdrop is quite entertaining but is in quite conflict (and at the same time nothing new) with the theme of the song and totally drowns out Udit Narayan’s emotive singing. Considering that this is a follow up to the opening shloka it unfortunately leaves a bad taste in your mouth earlier on in the soundtrack. I may be one of the few Anuradha Shriram fans out there; hence I may be one of the few that took a fancy to “Ram Bachaiye”, quite blatantly a left over from the Jis Desh Mein Ganga Rehta Hai soundtrack. I liked that soundtrack, hence I liked this track, but only few will, and no one will pass over the quite obvious Shriram chorus that sounds everything like “Prem Jaal” from JDMGRH. Shriram too takes a break from her screechy-ness to sing in that same alto that she sung for that film (coincidence?) This is a typical teaser number with only Nandita Das’ dances (hopefully?) to look forward to. Finally, “Sau Bar Janaam” goes with the first three tracks in that there is emphasis on depicting something strong and meaningful to its listeners as evident in the first seconds of the track. Lyrical value shine here again in promising to be a vital part in the narrative. Sukhwinder Singh does an apt job trying to reach vocals of seriousness and deepness (especially midway the track) but has done a better job previously (goes to show the power of a music composer). This one proves a better on screen tune and thus doesn’t have what it takes to listen to it completely, but if you do manage to do so, you’d be thankful as the song does actually get much more interesting towards the latter portions of the track.
There are several luscious songs but only for those that care for narrative songs and class appealing tracks. If not for that,
Pitaah may not be worth it for anyone. It’s notable and quite obviously enough that Anand did not include Alka Yagnik in this soundtrack, something I’ve noticed he hasn’t managed to
do in a while, that too, he has given Udit Narayan one track. That he chose Kavita Subramanium over her is even more commendable. Even still, Pitaah could have been something big for this composer who has a number of releases this year. A period film under a film director that doesn’t demand a lot (Mahesh Manjrekar that is), it’s sad that he couldn’t meet the mark. Shape up Anand Raj Anand! |
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