Vikram Bhatt has surely given the âBhattâ name a blow. Vikram himself has been known for his run of success, both musically and film wise, but since his separation from Vishesh Entertainment (limited or permanent, who knows), Vikram Bhattâs success has been limited and in terms of music itâs been much worse. Obviously, during Raaz, Kasoor and further, it was the banner not the director who understood the vitality in a good catchy soundtrack. And for all practical purposes the Bhatt banner is quite aware and at the same time consistent with the theory that excellent songs are imperative in bringing in audiences, even if it is not always a one hundred percent guarantee. In his next release (running on a newly renewed marathon schedule) Jurm, he follows the trend of having typical and sometimes inane compositions ala Elaan, Footpath, et al which leaves the âattraction of viewersâ tactic solely reliant on the film promos itself. The music by
Anand Raj Anand and Anu Malik is typical, at times boring and certainly nothing enough to draw people in to watch the second Bobby Deol-Lara Dutta starrer (the first being last yearâs Bardaasht).
The long hidden Rajesh Roshan discovery Pamela Jain makes a return in the densely promoted âOh Sanam Oh Sanamâ. Udit Narayan is the vocal support. The song is catchy for all unpractical purposes. There is nothing distinctive in this song, which is usually a problem with most of Anand Raj Anandâs romantic compositions. Jain does nothing to make the song distinctive and for the most part the track is easily forgettable. Dev Kohli is also dull in his work here.
dil songs? The problem is heightened as the word is repeated twice and thrice in the song which is slow, boring and unworthy of Shreya Ghoshalâs talent. Udit too sounds dull and lifeless. From the onset, you can tell this is not Anand Raj Anandâs track, but Anu Malikâs. The popular chorus gives that away but doesnât change the fact that the tune is a clear miss.
The other Anu Malik number âMere Chahaton Ka Samundar To Dekhoâ, which is also clearly different from Anand Raj Anandâs, carries that same whistle chorus with a breezy background. Abhijeet and Alka Yagnik sound great, particularly the former (but for arguments sake, he is heard less than Narayan). Rahat Indori pens a regular number here again. The song is nice and probably the best the soundtrack has to offer. If you havenât gotten it yet, that isnât saying much.
Kunal Ganjawala, who is being heard more frequently, sings another one of the long titled tunes, âAksar Yeh Hota Hai Pyar Meinâ. This is probably the only upbeat, attention grabbing and feet tapping song in the entire soundtrack. There is a basic Arabic backdrop which is interlaced with a dance beat and a fast chorus. The song has a bit of everything that a dance track needs. Ganjawala is competent though he sounds uncannily like Sukhwinder Singh at times. For a soundtrack as dull as Jurmâs, a few more tracks like this would have done it some good. This one may even garner a repeat.
The dilâs arenât over yet. Adnan Samiâs rare contribution, âNazrein Nazreinâ is filled with a chorus speaking of how crazy hearts are. Sigh. In any case, the tune by Anand Raj Anand is breezy without doing much. Itâs a soft romantic number that simply suits it purpose. That being said, singer Adnan Sami seems very uninterested in the track judging by the lack of emotion in the track. Usually his husky voice would have wonders but singing is certainly one of the non-working factors in this track.
Of all recent âRabbaâ tunes, the one in here, âRabba Rabbaâ is probably the worst! Kay Kay and Gayatri Iyerâs item number is surprisingly boring musically and vocally, which is rare considering that both are experts in singing these kind of tunes. This one is a lost cause with its predictable music and boringly loud singing.
Bollywoodâs thrillers are sometimes riveting to watch, just look at Kasoor,
Pyaar Tune Kya Kiya, et al. But Bollywood thrillers with catchy, spicy and entertaining music are even better to watch. Thereâs nothing better than watching a thriller knowing that somewhere in between a catchy or great song is coming up as well. Jurm unfortunately does not have that factor working for it, despite having two composers and two lyricists with each. Its battle unfortunately is seemingly twice as hard.
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