Fans of the Mozart of Madras are claiming he’s lost his
Midas touch, re: the official song of the 2010 Commonwealth Games,
'Jiyo Utho Bado Jeeto.’ 'This is what Rahman calls epic? – Let’s
leave the chartbusters to Himesh Reshammiya, shall we?’ retorts
one fan on YouTube. '[The] CWG Organizing Committee should be
made to listen to this song 10,000 times as punishment,’ raves
another. To which I respond: what were you people expecting?
A 'Waka Waka’? A.R. Rahman compositions are never mainstream-pop-kitsch – they
take time to grow on you. Plus, if you’ve heard Malayalam
singer Liji Francis’ version 'Laka Laka’ [YouTube
now to bring out the LOLs], you’ll realize part of the
allure of the World Cup anthem was generous Shakira visuals.
And minus 'Blue’ [read: Laaga Chunari Mein 'Chiggy-Wiggy’ Ka
Daagh], Rahman’s scores have been consistently riveting
even post Slumdog Millionaire. [Delhi 6 didn’t get a Filmfare
nod for Best Music Director for nothing, you know.]
And then there’s sci-fi romance operetta Robot, another
A.R. Rahman/S. Shankar collaboration [following Gentleman, Jeans,
Nayak, & Sivaji-The Boss, to name a popular few]. Once again,
fans are decrying the music-maestro for a 'hollow’ orchestration,
and faux-electronica-grandeur, making comparisons to the A.R.
Rahman of old.
Umm, the film’s about a 'Robot’ [Rajnikanth] – what
were they expecting? Rajni wooing Aishwarya Rai Bachchan to a
'Kabhi Kabhi Aditi’? Going all Bicentennial Man on us while
crooning 'Chotti Si Aasha’? 'Kehna Hi Kya…Ye Nain
Ik Robot Se Jo Mile’ doesn’t quite create an impact,
if you get my drift. C’mon, it’s science-fiction,
not soap-opera!
Right. Enough ranting. The breakdown...
First off: Thank God for no unnecessary 'remix’ versions
in this 7-track soundtrack [Let’s leave the campy let’s-add-bizarre-English-lyrics-and-repetitive-hook-to-this-qawwali
to 'Baby Doll Chapter 54,897’, shall we?] The soundtrack
opens with welcome-to-Technotopia 'Naina Miley’, featuring
heavily synthesized vocals by A.R. Rahman, Suzanne and Kash n’ Krissy.
With a consistent electronic beat pattern that sounds suspiciously
familiar to Donna Summer’s 'I Feel Love’, the track
is 5:20 minutes of pure hip-hop adrenalin rush. The chorus ['I
Robo Dooba Mai, Pyaar Mai Dooba Re’ / 'I Am A Super Girl
- Big Daddy Rubber Girl? Ik Pyaari Lover Girl?], however, is
on the annoying side, and the English lyrics by Kash n’ Krissy
are, in general, ludicrous. Khair, the energetic discotheque
concerto makes for repeat listening despite the lyrical-assault.
Up next is Mohit Chauhan - Shreya Ghoshal duet 'Pagal Anukan.’ The
song begins with an understated-yet-sublime melody, and – wait.
Oh, Jesus Christ. 'Neutron electron neelay naino mein bolo kitne
hain’ - What the hell was lyricist Swanand Kirkire thinking?!
Far as romantic ballads go, this one is musically way up there – especially
the rhythmic groove of the chorus 'Pyaara Tera Ghussa Bhi’,
the spirited guitar strumming, and Shreya Ghoshal’s enchanting
voice, but the lyrics in certain parts just ruin the ambiance – I
mean, you can’t imagine prancing around a rose-bush [with
your lover in a rain-drenched saari] crooning 'Main Newton Newton
keh sakya dil yeh kahe dolay din ratiya’! However, the
infectious melody will undoubtedly bring a smile on your lips.
And for those of you who want to spare themselves an inadvertent
Physics lecture, skip to 4:54 and let the chorus-on-repeat work
its magic.
The Classical Raga acid trip that is 'Chitti Dance Showcase’ is
sensory overload, and then some. It’s meant to be an out-and-out
dance-track [a la 'Fire’ from Hrithik Roshan’s 'Kites’]
but the unpredictable rise-and-ebb [am I doing the Robot? The
Waltz?] of this rabid Karnatik composition gets a bit much. It’s
a poor man’s 'Liquid Dance’ [Slumdog Millionaire]
at best. And I was expecting this to be the next chartbuster
slash mehndi rage. Oh well.
Hariharan and Sadhana Sargam duet 'Arima Arima’ is a grandiose
composition in praise of the protagonist, and while it has all
the trappings of a classic A.R. Rahman track: high on 'royal’ orchestra
and dramatic intensity, featuring a forceful rendition by Hariharan – the
problem is that it’s been done before, and much better
[remember Rahman’s own 'Azeem-O-Shaan Shahenshah’ from
Jodhaa-Akbar, or Vishal Bhardwaj’s 'Omkara’?] Like
'Azeem-O-Shaan Shahenshah’, I think this situational track
will have to rely heavily on visuals for longevity.
Next song 'Kilimanjaro’ adopts the same folksy-tribal flavor
[think Africa, think Lion King] that worked so well for 'Beera’ [Raavan].
The break from the techno-fused tracks preceding this one is
welcome. Javed Ali [of Jashn-e-Bahara – Jodhaa-Akbar & Guzarish – Ghajini
fame] is mesmerizing behind the mike in this light-hearted, mischievous
track; now if only Rahman hadn’t used an 'Ahaan-ahaan’ refrain
that reminds one of songs from the 90s, this would have been
a perfect track.
Right. If you [sigh] ignore the lyrics of desi-eletrophunk outing
'Boom Boom Robo Da’ [yes, those are shout-outs to Isaac
Asimov and Albert Einstein], this hip-hop influenced track works
where 'Chitti Dance Showcase’ didn’t: the beat is
consistent and energetic, the chorus is foot-tapping, and Madhushree
['Kabhi Neem Neem’ from Yuva remains her tour-de-force
to date] presents a perfect vocal foil to Tanvi Shah, Rags and
Yogi B’s rather 'loud’ rendition.
The soundtrack ends with 'O Naye Insaan’, a duet featuring
Srinivas and A.R. Rahman’s daughter Khatija in her vocal
debut. Featuring minimal arrangements and a glacial rendition
by Srinivas at the onset [the song plays out like haunting house
music before moving to downtempo Faithless/Moloko territory],
the song is the pick of the lot: foreboding, bleak and beautiful,
this exquisite symphony is to the Robot soundtrack what 'Behne
De’ was to Raavan.
The Verdict: While A.R. Rahman is at his experimental best, and
each song is worthy of a listen [composing a soundtrack to suit
the sci-fi script of Robot was a monumental task, after all],
the music of Robot is definitely not everyone’s cup of
tea; hardcore electronica lovers won’t be impressed by
the 'Bollywood’ element, and average listeners will find
most of the compositions too complex, even by Rahman standards.
And then there’s the rest of us, who’re left wondering
just what possessed lyricist Swanand Kirkire to come up with
those lyrics. Where’s Gulzar when you need him?
