The test for any good music, particularly in today’s times when the market is overflooded with multiple options is that the album must arouse sufficient curiosity for the listeners to want to go and see the film in the theatre. Only then, will it guarantee repeat value for the film and consequently, mega success!

Two albums in recent times to have created sufficient ripples and more significantly, prepared the audience for the mood of the films, a trait almost non-existent in the last decade, have been Aamir Khan’s Lagaan and Rakesh Mehra’s Aks. The former is rustic, brimming with folklore and delving into rural concerns. The latter is dark and introspective, telling on the complexities of urban life.

Lagaan has lyrics by the talented Javed Akhtar seamlessly woven into A.R. Rahman’s compositions. The songs have been expertly choreographed by Ahmed Khan on the golden sands of Bhuj. Aks has the prolific Anu Malik for the first time bonding with Gulzar. The songs magnificently showcased in an upbeat, contemporary ambience.

Both the albums are versatile and full of surprises. If Ghanan ghanan... describing the dark clouds is full of hope and anticipation, Radha kaise na jale... about a jealous lover’s confession is flirtatious, amusing and also touching. Chale chalo... reflecting the bonding among the villagers to fight bigger issues, is inspiring, while the bhajan, O paalanhaara stirs you by the sheer simplicity of its words and the purity of its message. Javed Akhtar yet again proves that he is a man of all seasons .....

If you take a closer look at Aks you will realise that it is not an easy assignment for lyricist Gulzar because he enters the unfamiliar territory of intrigue and mystique, stepping away from the romance and relationships he is usually associated with. But like Lagaan this album is also very versatile. There is the upbeat Raba... raba... and the alluring Aaja gufaon mein aa... telling of caves and crimes. Then there’s the unconventional Bhala bura... in Amitabh Bachchan’s voice completely different from anything he has sung so far. Ramleela emphasising the good over evil theme, is engrossing and contemporary. The best track, however, in both words and voice, is Hum bhool gaye hain... by Hariharan. It is soothing to the heart and providing fodder to the brain. It reflects the agony of a man facing an identity crisis. He wonders if he has lost it or has he misplaced it somewhere... That something called soul. Hope seems a stranger today, and pain unfamiliar. How unfortunate that he can no longer hear the footsteps of the one he recognised by a fleeting shadow.

Sometimes, the most extraordinary moments in creativity happen unawares. An interesting facet about this album being that this is probably one of those rare instances when an album provides two versions and yet not necessarily contrasting views on the same subject, in this case, Night. Ye Raat... celebrates the evil, the serpent like darkness. It applauds her poisonous, almost fearless demeanour but has the better sense to know that no matter how irresistible the Night it cannot be relied upon for solace. The heart is a lonely hunter and no matter what the promises, the vacuum persists.

On the other hand, Shubha Mudgal’s full-throated outcry of Raat aati hain... is ominous and haunting... Describing the darkness as unfaithful, she is condemning her sudden appearances and disappearances, but more than that, disapproving of her own dependence on dusk. Hurting but still willing to make concessions, she feels that the Night must have her own story. Some old wounds she hides in her heart, and which make her the way she is.

ANOTHER WINNER FOR RITUPARNO
After almost a year in the cave, Radical Films’ Bariwali made it to the the theatres and has been well received. Directed by Rituparno Ghosh, Bariwali tells the story of a film unit arriving in a small town to shoot a film and taking over the mansion of a trusting, getting-on-in-age lady householder. Looking at his characters through many layers, Ghosh once again journeys into the heart of his protagonist and the film industry with alarming clarity and compassion! The intriguing moments are conveyed through dream sequences comprising partly of the day’s residue and partly of repressed desires. As always Ghosh impresses you with his extraordinary insights into women, particularly actresses and the showbiz world. He tugs at your heartstrings making you look inwards. The film raises several emotional and social issues but most important, is concerned with the dignity of an individual. As the vulnerable householder, Kiron gives a sincere performance devoid of vanity or any indulgence.

bhawanasomaaya@express2.indexp.co.in