A scene from Slumdog Millionaire
December 17, 2008 13:19 IST
It's a bit of a disservice to try and rank a musical score as one would a
normal soundtrack, since so much of its desired effect is achieved through
using it in bits and pieces, in background and in snatches... as opposed to
full-scale gaanas like we usually see in our movies.
Yet AR Rahman is up for a Golden Globe for his work on Danny Boyle's
phenomenally well-reviewed Slumdog Millionaire, and before we watch the movie,
here's a peek at the 13 tracks on the disc.
Also Read: 'Slumdog Millionaire's music isn't about India'
O Saya:
By the way, it's 'Say-aah,' like a particularly tuneful dentist would sing it,
not 'Saaya' as in shadow. Rahman's the man ostensibly asking you to open wide,
and he sounds uncharacteristically mellow with his exhortations before breaking
into some Cheb Mami style freestyle vocal wildness. Ha. M.I.A sounds just about
okay, but breaks the rhythm of the song effectively enough. It's the kind of
song that'll grow on you.
Riots:
There's a discordant moaning accompanying the thudding rhythm of this track,
suggesting it's about a city -- and its very bowels -- in deep agony. Something
is clearly wrong, and the track lets you know it. Very unsettling.
Mausam And Escape:
The composer decides to leave the electronica for later, and just concentrate
on a beautiful soundscape. This is where the classical showoffing is done, and
Rahman masterfully builds on layer over layer as the track rises to an
overwhelming crescendo. The mood shifts right through the middle of the song,
and this is Rahman in look-at-me mode. It's a startling track, its frenetic
high ebbing gradually, beautifully into silence. Wow.
Rahman triumphs at LA Awards
Paper Planes:
M.I.A soars with this ridiculously catchy track. The words -- 'I fly like
paper, get high like planes; If you catch me at the border I got visas in my
name' -- are very fun, but not as much as the sound effects: 'All I wanna do
is,' M.I.A sings, before the track shudders with gunfire, bang-bang-ing away to
glory. Good fun.
Paper Planes (DFA Remix):
ARR clearly listens to more American music than we expect him to. Suddenly the
M.I.A track comes with a significantly moody intro, and by the time the girl's
vocals kick in, the song already sounds very different from the one we just
heard. The real fun bit? Rahman kills the guns, making it impossible to tell
what M.I.A wants to do anymore.
Ringa Ringa:
This is Choli Ke Peechhe, not that they ever sing that line. The essence of
Laxmikant-Pyarelal runs deep through this song. Ila Arun sings Ringa-Ringa with
such unforgiving intensity you almost wish she'd say 'roses' and break the
spell, while Alka Yagnik [Images] sounds better than she's done in quite a
while. The melody is obviously haunted by the ghost of a provocative Madhuri
Dixit [Images], but Rahman soaks the track in nineties-ism with such joy. The
once merely sexy song here becomes a saga of betrayal and helplessness, and the
effect is mesmeric.
Liquid Dance:
A hyperactive tabla bol crossfades frantically from centre to left to right and
back again even before the actual beat kicks in. There is much electronica, and
a theme -- reminiscent of Rahman's lovely Bombay signature theme, definitely
intentionally -- takes over, and by now you're hooked. The composer weaves in
several disparate layers, and each rolls back to give the dhu-na-ki-tak-dhini
bol pride of place. Very cool, very trippy, and one can only imagine the mad
visuals this track will accompany and, doubtlessly, elevate.
Latika's Theme:
There is much wistfulness on hand as Suzanne D'Mello melodically hums her way
through this simple, pretty piece of music. Somewhere in the middle it seems to
dip into a poignant melancholy, but we're probably just second-guessing the
film here. A fine, intentionally unspectacular theme.
Aaj Ki Raat:
Yeah, it's Shankar-Ehsaan-Loy's track from the new Don. There is some slight
remastering, but the song remains the same. I'm betting there'll be a small
portion, or snatches, of the song played somewhere in the background.
Millionaire:
The first thing you notice about this track is its urgency, about how the
heavily syncopated music tries to be racing ahead of itself. It might sound
like generic electronica at first go, but there is a grim undertone to this
song, clearly the kind of thing that could accompany a great chase visual. Or a
montage.
Gangsta Blues:
Incoherent whispers lead us into this gangster-by-numbers track. Rahman's
frequently used rapper Blaaze sounds less objectionable than he ever has, but
this remains a very standard-issue 'bad guy' track, right down to the
oh-oh-oh-oh Aguilera-esque chorus by Tanvi Shah, though the way she does the
final 'oh' every time deserves, um, commendation.
Dreams On Fire:
The melody is innocuous, but D'Mello sounds a bit like she's trying too hard.
The words are maudlin, and don't ever quite soar out of the Hallmark range.
Nothing special, though Boyle could change that visually.
Jai Ho:
Aha, this one's a keeper. Rahman always uses Sukhwinder Singh to the optimum,
and as soon as he sings out the first two lines -- lovely, evocative lines
about the sky stretching out like a sparkling blue shamiana -- you know you'll
love this song. Tanvi Shah and Mahalakshmi Iyer are used with whimsy, and the
words are those of a dreamer. I dare you to not love this song.
What a way to end the album. So yes, there are a few stellar tracks -- Liquid
Dreams, Jai Ho, Mausam And Escape and Ringa Ringa are absolutely incredible --
and it's a safe bet the rest will either grow on you or impress you once Mr
Boyle's had his way with the music.
All I can promise is that listening to this music makes you want to watch the
film real bad
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