by Srikanth Mantravadi
Renowned for delivering ear smashing hits,one after the other- mind you- with no respite,Sajid-Wajid as an entity bring to my mind the picture of a cold turkey.Not an eatable one,though.But frankly,Veer is the finest they have produced.Period.Part of this praise can be attributed to wordsmith Gulzar whose endless palette of phrases flush this soundtrack with remarkable poise and elegance.
Much of Gulzar’s metallurgy hinges on a magical interplay of words that alter,in some cases subvert,conventions and consequently evoke a deep sense of gushing irony,sometimes hardhitting and in some cases soothing.In Veer,though,he opts for the latter,lissome prose-evocative and pristine,it is.The handsomely tuned and effervescently sung Surili Akhiyonwale is an elucidation of this.When called upon a few writer’s would have written something like-
Behti Hai Neendon mein sapnen…
Whereas the Gulzar,while dissecting the phrase into two,dotes-
Behti Hai Neenden….
He hastens to land te definitive coup de grace,lest we think that was all-
Aur Neendon Mein Sapney…
Dipped in somewhere is also a inadvertent homage to Keats(Keats wrote in his deliriously famous Endymion-An endless fountain of immortal drink,Pouring unto us from the heaven’s brink).In a wondrous turn of phrase Gulzar applies similar imagery.He writes-
…Kabhi Toh Kinare Pe
Utar Mere Sapnon Se…Aaja Zameen Pe Aur Milja Kahin Pe…
This kind of longing and disillusion washes over again and again in these lyrics and is best brought out by Rahat who pours life into it and probably he left a touch of his own in it.The song also goes to show how accomplished men can add a dash of quicksilver to any song they put their hearts into.
Meanwhile,the composers run with the baroque leitmotif in Salaam Aaya.Rook Kumar takes over from Rahat while Gulzar is in cruise control evoking a leisurely passion through the lyrics.
The ode to Kanha,in thumri form as the label mentions,is deftly tackled by Rekha Bharadwaj whose vocals are a sell out in a semi-classical avatar.The tune moves in serpentine ambulations with hardly a pulse on *today’s* immediate music.
And it is from hereon that the musical caravan stutters.Sajid-Wajid take a quick detour and it shows in Meherbaaniyan.The tune is a mere excuse here.
Finally,the OST is brought to an abrupt and thoroughly unsatisfactory halt with Taali,a piece that is finely orchestrated but erratically tuned.It is characterised,therefore,by sedate spurts of action leavened with wholesome dormancy.Sad coz,for a warrior’s full throated machoism,this should have bristled with energy and verve and instead it plods on wearily.
The composers make a sunny start until the strains start to set in and the OST unravels.
My Picks-Surili Akhiyonwale
My Rating-Two Cheers!!