Dhokha Music Review
Film: “Dhoka”; Music Director: MM Kreem; Rating: **
Pooja Bhatt’s third major directorial venture ‘Dhokha’ after two dismal flops is a socially relevant film that revolves around the life of a suicide bomber. ‘Dhokha’ happens to be the launching pad for model-turned-actor Muzzamil Ibrahim while Tulip Joshi plays his love interest in the film. Tulip made her on-screen debut with Yashraj’s ‘Mere Yaar Ki Shaadi Hai’ followed by Manish Jha’s critically acclaimed ‘Matrubhoomi’ and Anant Mahadevan’s ‘Dil Maange More’. Pooja Bhatt has earlier directed films like ‘Paap’ and ‘Holiday’ that proved disappointments at the box-office. MM Kreem has composed original musical soundtracks for the film. The composer has earlier composed music for ‘Criminal’, ‘Rog’, ‘Saaya’ and ‘Jism’ for the Bhatt camp and it will be his fifth venture with them. Pakistani singer and composer Shiraz Uppal makes her mark in Bollywood with the track “Roya Re”. Shakeel Azmi, Sayeed Qadri, Khushbir Singh Shaad and Bharat Bhushan Pant are the lyricists. ‘Dhokha’ has seven original soundtracks that can be heard on Sa Re Ga Ma music cassettes and CD’s.
Anjana (2 Versions) :KK’s soothing vocals along with soft-pitched orchestration make supple and mushy romantic vibes in heart-throbbing musical soundtrack “Anjana”. MM Kreem’s peculiar harmonic mode that was evident in “Jaane Kya Dhoondta” (‘Sur’) and couple of similar tracks makes impressive marks in the track. It can’t be among the finest soft rock ballads of the year but certainly lives up to the situation of an ardent lover craving for his beloved. Shakeel Azmi’s beautiful poetry is the major highlight of the track and impresses in verses like “Anjaana Dil Kya Jaane, Begaana Dil Kya Jaane,Darr Jaata Hai Kyun Paake Khushiyaan, Yeh Jo Main Bekaraar Hoon, Har Lamha Ishq Toh Nahi, Yeh Jo Mujhe Bekhudi Si Hai, Tu Jaise Mujhmein Hai Kahin”. All KK fans can treasure this track but it completely lacks the tenacity of soft rock zing that was prevalent in Pritam’s composing. It tries to be similar to “Tu Meri Shab Hai” (‘Gangster’) and “Alvida” (‘Life in a…Metro’) but the soul of imposing rock ballad is completely missing.
The second version of “Anjana” comes in the intense vocal mode of MM Kreem with almost similar lyrical flow and musical arrangements. The sensuousness of MM Kreem in “Awarapaan Banjarapaan” (‘JISM’) is missing but still his soothing vocal textures impress. It’s a mediocre soundtrack that should help in developing love chemistry between on-screen love birds but nothing significant to appreciate about it.
Roya Re (2 Versions) : After the husky voice of Mustafa Zahid in ‘Awarapan’, it’s time for another Pakistani rock sensation Shiraz Uppal making impressive moves in sentimentally mournful soundtrack “Roya Re”. Once again it’s Pakistani rock sensation stealing all the limelight as it emanates out as the brightest aspect of the album for its intense and passionate sentimental feel. Shiraz’s remarkable voice clubbed with amicably balanced orchestration gives it an extra edge over other numbers. Sayed Quadri, the Bhatt camp special lyricist creates magic with his lyrics with wordings like “Tanhaayi, Sangdil Tanhaayi, Sang Laayi Yaad Teri Sang Laayi, Baar Baar Woh Bahaar Phirse, Yaad AayiSooni Sooni, Raah Dil Ki Jisane Thi Sajaayi,Tanha Dil, Roya Re… Dil Roya Re” The soundtrack promises to be chartbusting material and surely it will rise high up on charts in coming weeks. DJ Suketu’s high pulsating disco beat fillers full of racy keyboard generated thrust prove magic in creating a thrust in typical “club” remixing attire in “Dhokha (remix)”. This impressive remix will be a major thrust in album audio sales prospects but “lounge” remix could also be a better option.
Dhokha (2 Versions) : “Dhokha”, an extra loud and ear-deafening theme track by Rafaqat Ali Khan emotes about the deceitful motives and dubious intentions. It’s one of the horrifying tracks that can be heard in Abbas-Mastan thrillers but the number proves too unimpressive in its contemporary lyrics and jarring musical arrangements. MM Kreem’s overtly boisterous percussions and arrangements infused through Sufi rock zing fail to impress, and number sounds more like promotional or end title soundtrack. Even Rafaqat Ali Khan’s well poised voice fails to penetrate with extra spine-chilling daunting impact. It can well be materialized as effective background score but nothing consequential about its melodic quality. The remix version of “Dhoka” can be presumed to be a promotional soundtrack that can be used in promos and teasers of the film. It’s a mandatory remix where repetitive disco fillers come in cyclical mode with added loud drumming.
Kab Tujhe : MM Kreem’s typical South Indian music tinge combined with Bhatt camp’s 90 style musical rendition make impressive romantic vibes in “Kab Tujhe”. KK delivers another impressive vocal performance where he is ably supported by Shreya Ghoshal’s mellifluous display. The soundtrack lacks innovation as all major sentimental tracks from the Bhatt camp have similar musical touch. It has similar shades to “Aye Meri Zindagi” (‘Saaya’) but overall the soundtracks fail to create any major emotional impression of eternal love relationships. All the Bhatt camp afficionads might rejoice for its peculiar tonality but it will have few takers among Gen X listeners.
MM Kreem disappoints with his new venture ‘Dhokha’ and the album proves to be a rare failure for the Bhatt camp after the super success of ‘Awarapan’, ‘Gangster’ and ‘Woh Lamhe’. The composer has failed to match with the quality of his chartbusting music of ‘Jism’ and ‘Criminal’. Here , he delivers average numbers. Pakistani singer Shiraz Uppal makes confident entry in Bollywood with “Roya Re” and the number proves to be only saving grace for the album. After back-to-back musical hits, the coveted Bhatt camp disappoints in ‘Dhokha’ but still it fits well into situational feel of the film with moderate success.