Click HERE for the movie review. Below is a review of the soundtrack.
Two of the big films awaiting release - once the dry spell of the ongoing Cricket World Cup passes - are both Abhishek Bachchan starrers, and incidentally also action thrillers. The first is Game, directed by Abhinay Deo, and the second is Dum Maaro Dum (DMD), directed by Rohan Sippy. Here are music reviews of both films; Game is composed by Shankar-Ehsaan-Loy (S-E-L) while DMD is a Pritam enterprise. Both, unfortunately, end up being underwhelming albums overall despite select strong tracks in each. Game
The album kicks off with It’s a Game, a track that will most probably be used in the opening or closing credits of the film. Sung by Vishal Dadlani, it’s a strong start to the album. Dadlani’s deep vocals and S-E-L’s intense and mysterious tune make it an apt theme song for a thriller. It also reminds of ‘Main Hoon Don’ from Don: The Chase Begins Again, also a S-E-L composition. The Reprise by Sunitha Sarathi is just as good. It’s mixed differently, a slower tempo, and Sarathi gives it the right amount of suspense and sensuality.
Maine Yeh Kab Socha Tha has a very “flashback sound” to it, i.e. I can guess with some certainty that it will be used in a flashback in the film. For one, it opens with an evocative piano tune, and then slowly builds into a rather typical S-E-L ballad, complete with an English refrain. Towards the end, it goes into a more serious orchestral mood, again indicating that it’ll be used to tell a love story in flashback. However, vocals by Anusha Mani, Loy Mendonsa and Shaan make it just above average despite its predictability.
With the next track, Mehki Mehki, the album sadly slips further into the ordinary. The music is an odd mix of middle-eastern, salsa and jazz influences, but surprisingly offers nothing new or exciting with the sound, except the intriguing guitar and piano interludes in the midde. With powerful singers such as Shreya Goshal and Kshitij Wagh, a somewhat lethargic tune detracts from the overall experience. The Remix doesn’t get any better, either.
The last song of this short album is Kaun Hai Ajnabi, sung by K.K and Aditi Singh Sharma. S-E-L inject their usual peppiness into this track with the singers providing ample mood. It bears the trademark mystery thriller sound that is associated with a film such as this, but doesn’t rise beyond that. It’s not a bad track, but also doesn’t have the repeat value or ‘wow’ factor of the thrilling song it could have been, much like the title track of this album.
Dum Maaro Dum
When you decide to compose a new version a timeless classic of a song – that too one with a fiercely loyal cult following – you’re already playing with fire. Pritam does just that with Mit Jaaye Ghum, a rehash of the R.D.Burman classic 'Dum Maaro Dum.' The original was already ahead of its time so the team here pushes the boundaries in their own way. Pritam brings in Anushka Manchanda for the vocals and makes the song a heavily synthesized techno track. Manchanda’s vocals are feisty but the lyrics border on crude, making the song’s new avatar an acquired taste. The best part of the song is still the hypnotic chorus, the Burman melody that makes the original unforgettable. This version, however, will be quite the nightclub hit.
Te Amo, sung by Sunidhi Chauhan and Ash King, is designed to be a Portuguese-influenced love song (in line with the film’s setting in Goa). Unfortunately, it’s also a pretty listless track. The Remix version is about the same. The Reprise, sung by Mohit Chauhan, is better by a margin, if only because of the simple acoustic guitar tune.
The best track in the album is Jiyein Kyun, crooned by Papon. It's a soft rock ballad about heartbreak, and very reminiscent of the music of Life in A Metro (one of Pritam's best). The music is typical of Pritam’s rock ballads but it’s Papon who adds a very refreshing touch to it with his vocals, exhibiting quite a range and making it the right emotional experience for the mood.
Singer Zubin Garg’s dynamic and forceful voice (as heard in ‘Ya Ali’ in Gangster) is wasted in an extremely ordinary rock ballad in Jaana Hai. The song doesn't offer much novelty in lyrics or music, with Garg’s passionate voice being the only aspect to this song that warrants one listen.
The film’s lead actor, Abhishek Bachchan, gets behind the mic for a rap song, much like the hit ‘Right Here, Right Now’ from Bluffmaster, his last collaboration with director Rohan Sippy. Thayn Thayn has Bachchan along with Earl and Ayush Phukan in a rap song designed to be ultra-cool and with ample socio-political commentary. Luckily, the track lives up to Bachchan’s last outing as rapper, proving to be just as catchy.