A post by Deepi, dedicated to Viju for his birthday (26th Aug)
“Jo bhi mein, kehna chahun, barbaad karen, alfaaz mere.”
I cannot think of a more suitable way to describe my feelings whenever I think of this movie/album. One grows to love a note, a song, music. And there are times when music becomes the very definition of you. Your only companion when the path seems to grow wilder and you are on the verge of losing hope. That is when you turn to something which inspires and comforts, better than warm hands and
kind words. Phir Se Ud Chala. Indicative of freedom and spirit. I feel uplifted whenever I listen to it. But it is also coloured by an attitude of nonchalance. A tint of yearning, confusion. The take off, the journey of which Jordan feels unsure. And the same “maya” he says, tries to express something (kaise kahoon kahaani mein inki). And from there stems a little philosophy, self discovery, we “mirror each other”, the same mistakes, the same arguments. That evolves into spirituality. Where one finds solace and meaning, a new direction. It also stresses what I want to say. Because only you were there when no one else was (Jab kahin pe, kuch nahi bhi nahi tha, wahi tha wahi tha). Few songs are capable of bringing those precious tears to your eyes. Kun Faaya Kun is one of them. Simple, meaningful. I prefer it to the much more ornate Arziyan. But Jordan does not travel alone. Tango for Taj, so underrated. It conveys a sense of superiority, class. Heer dances on, spurning all those men. She finds almost everyone unworthy of her notice and finally falling for the most unlikely one. It speaks of all things pretty, classy and snooty combined. In complete contrast comes Sheher Mein. Fun is the word to describe it (Kya ringtone mane!) A funny interaction between lovers. (Mail bhi kiya tha maine theri id par! So contemporary!) The typical tapori music video which we see oft advertised on the television. A peek into Jordan’s world. A little progress. The colourful Hawaa Hawaa and a reunion with his muse. The song weaves a story–the story of Jordan and Heer– and sheds light on events to come. She dances with joy, there’s fear and she implores to be set free from her golden cage (sone ke deewaren, mujhe kushi na ye de paaye!) With the most beautiful picturisation ever, even as the beats slowly drift away and Heer finds comfort in Jordan’s shoulder, Kavita Subramaniam’s voice softly sets in as she hums Tum Ko. The instrumentation in Tum Ko is streaked with sadness even as she expresses her happiness. The song so delicately speaks of a longing and the separation which is inevitable. The flame grows stronger; burn and perish (meri bebasi ka bayaan hai). Yet, it’s only a flame; so fickle. The atmosphere of uncertainty, captured in haunting fashion by Alma Ferovic.All this pent up frustration bursts open and we have the rebellious and stirring Sadda Haq! (Mein galat hun, tho phir kaun sahi?) But I’d rather not dwell too much on it. Something which depicted more emotion—Tum Ho on the electric guitar.
One of the most cherished moments in the movie for me. (I must take a minute to salute the entire team of Rockstar for having made good use of the music. Katiya Karoon strewn all over the place which gives it a whole new dimension) Extending into The Dichotomy of Fame, characterizing dilemma. The shehnai contrasts the guitar. Deep, troubled thoughts are reflected. The same twinge of sadness that was present in Tum Ko. The thoughts evolve into intensity and energy. We have Nadaan Parindey. He is tired and he screams in angst. The end is nigh and everything looks bleak. A glance, a whisper, a moment with his love is all he needs. The clash of the drums fades away. There is the whooshing sound of the wind. And he hums. (Tum bhi ho mein, kya phikar ab humein!) Gentle and soothing, a lifetime of happiness.
And finally, Katiya Karoon. For all the fun we had (Junglee Jawani!). There is mischief in the air. Mirth and youth bring life to the song. And there is a hint of a budding romance as she croons kataroon and softly brings it to an end.